Feb 23, 2026 · 51 min · 11 segments
Here comes the THE BRIDE writer/director/producer Maggie Gyllenhaal, who joins SINNERS writer/director/producer and Proximity founder Ryan Coogler, for an exclusive conversation with IN PROXIMITY host…
Maggie GyllenhaalGuest
Ryan CooglerGuest
Paola MardoHost
So how do you actually come up with that character in the writing process? Because in the original film, she doesn't speak.
We see her at the very end of Bride of Frankenstein, even though the film is called that.
What went into the writing process and creating that character and also working with Jesse?
I really let myself write this... like very much kind of from an unconscious place.
I sort of, there was a moment where it was set in like 1870s after the Civil War.
There was a whole job called being a spiritualist where, and mostly it was women who had to make money somehow after the men in their life had been killed.
And I liked this idea of, okay, is people being brought back from the dead? Maybe I'll set it then.
And then it shifted and became the 30s when I realized I wanted Frankenstein to be so lonely that the only relationship in his life was with someone on a movie screen.
You know, so then I just kind of like let it flow and went wherever it was going.
And I was like, I know that's from a book, but what book? Like I just kind of let it all flow.
I don't know if you're like that or if you outline or, you know, how do you do it?
So how do you actually come up with that character in the writing process? Because in the original film, she doesn't speak.
We see her at the very end of Bride of Frankenstein, even though the film is called that.
What went into the writing process and creating that character and also working with Jesse?
I really let myself write this... like very much kind of from an unconscious place.
I sort of, there was a moment where it was set in like 1870s after the Civil War.
There was a whole job called being a spiritualist where, and mostly it was women who had to make money somehow after the men in their life had been killed.
And I liked this idea of, okay, is people being brought back from the dead? Maybe I'll set it then.
And then it shifted and became the 30s when I realized I wanted Frankenstein to be so lonely that the only relationship in his life was with someone on a movie screen.
You know, so then I just kind of like let it flow and went wherever it was going.
And I was like, I know that's from a book, but what book? Like I just kind of let it all flow.
I don't know if you're like that or if you outline or, you know, how do you do it?
The rest of this transcript — segmented and speaker-labeled, so you land on the exact moment something was said
Search every transcript — by keyword, by phrase, or by meaning, across every show Radar indexes
Trends — what is surging across podcasts, measured against its own baseline
Alerts — when a name you follow appears in a newly indexed episode
No account is needed to search Radar.
