Disclosure Day Writer David Koepp Discusses God, UFOs, and Crafting 42 Drafts

      Disclosure Day was a resounding success for screenwriter David Koepp, who describes his collaborative experience with director Steven Spielberg as the most intense he's encountered in his four decades of filmmaking.

      “This marks our fifth film together as director and writer, and the 10th or 12th that we've collaborated on as producer,” Koepp shares. “I can confidently say this is the most focused and meticulous I've ever seen him. And he's always been intense and detail-oriented, but this was on another level.”

      Koepp joined Spielberg's latest alien-themed project in September 2023 after the renowned director, known for classics like Close Encounters of the Third Kind, E.T., and War of the Worlds, shared a treatment for the eagerly awaited June 12 theatrical release.

      “I asked him what it was about before he sent it, and he replied, ‘Oh, the same thing I always do: aliens,’” Koepp recalls, adding that he found the narrative “quite striking” and urged Spielberg to keep developing it.

      Before long, Spielberg invited Koepp to take charge of writing.

      After 42 drafts, Koepp—who played a key role in launching the iconic Jurassic Park franchise—told MovieMaker, “It turned out very well. It's highly emotional, which I love because emotion is scarce in films, and when it resonates and feels authentic, it holds significant meaning.”

      Although Koepp initially aspired to be an actor, he soon uncovered his exceptional talent for writing. Since penning his first produced script for 1988's Apartment Zero, he has authored or co-authored numerous screenplays across various genres, including Spider-Man, Mission: Impossible, Panic Room, and three Jurassic Park films, including the original. He is among the most successful screenwriters in terms of box office earnings, credited with films that have grossed nearly $3 billion.

      In our discussion regarding Disclosure Day—which features actors like Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, Wyatt Russell, and Colman Domingo—Koepp revealed he often feels he is rediscovering fundamental aspects of screenwriting.

      Throughout the 42 drafts of Disclosure Day, Koepp crafted the film from the viewpoints of every main character.

      MovieMaker: Can you elaborate on how you infused emotion into Disclosure Day?

      David Koepp: Certainly. I had considerable assistance with this script. Steven originated the story, and I think he recognized that it involves a theme he's explored in several other films, each groundbreaking in its own right.

      He always feels the need to create a remarkable movie, and I sensed there was extra pressure this time, leading to a series of drafts that genuinely enhanced the emotional elements.

      We approached each draft from the perspective of one character at a time. Not that we rewrote the entire script, but writing a script typically means considering all characters and story requirements simultaneously. So, we dedicated time to focus solely on Emily Blunt’s character, allowing us to concentrate on what she feels or does in each scene without being burdened by the broader plot or other characters.

      We repeated this process for characters played by Josh O’Connor, Colin Firth, Eve Hewson, and Colman Domingo, which provided each character with a clear focus over an extended time during the writing.

      MovieMaker: That's fascinating. Have you ever employed this method for other films?

      David Koepp: No, this was a first for me. It evolved organically; we began with one character, and then someone suggested attempting it with another. Once we had committed to the idea, we decided to apply it to everyone.

      MovieMaker: Did Spielberg suggest this approach for the initial character focus?

      David Koepp: Yes, and it naturally became our method moving forward.

      MovieMaker: What were your first impressions of Spielberg's latest alien narrative?

      David Koepp: What immediately appealed to me was his choice of genre. Each of his previous films on this topic has a unique vibe—Close Encounters has a specific 1970s paranoid feel, E.T. belongs to a distinctly different genre, War of the Worlds carries another tone, and this film, in many ways, feels like more of a chase movie.

      There are numerous thoughts woven into it; I felt it had an Alan Pakula vibe. I appreciated the new tone introduced to this kind of story. I gave the typical feedback one provides to a friend, suggesting adjustments and encouraging him to continue.

      Then, after a month, he shared another draft, and I provided similar feedback. That sparked an ongoing dialogue, and eventually, he asked if I wanted to take it on. I was eager to accept and worked from a 40- to 50-page outline that I revised and returned to him.

      Initially, I felt nervous changing his work, but he was supportive and encouraged me to proceed. Unfortunately, the dynamic shifted; instead of evaluating a friend's draft, he was now expecting me to take the lead—an unfamiliar yet exciting