David Bridges
A24 and acclaimed filmmaker Alex Scharfman are poised to redefine the narrative surrounding unicorn mythology with their latest arthouse genre film, Death of a Unicorn. Starring the talented Jenna Ortega from Wednesday and the charismatic Paul Rudd from Avengers: Endgame, the story follows a father-daughter duo who inadvertently hit a baby unicorn while en route to a crucial meeting that could significantly impact their family’s future with the father’s wealthy employer. This unexpected incident spirals into a series of events that uncovers a discovery capable of transforming the world, if only it could escape the confines of a luxurious mansion nestled in the enchanting woods.
In an exclusive interview, io9 had the opportunity to converse with Scharfman about the film’s inception, the unique casting choices, including Ortega among some of the most humorous actors in the industry, and his perspective on the necessity of fantastical satire in today’s society to enable laughter amidst chaos.
Sabina Graves, io9: As someone who typically doesn’t have an affinity for unicorns, you’ve managed to convert me into a fan. Thank you!
Alex Scharfman: Jenna mentioned the same thing! Initially, she wasn’t fond of unicorns, and honestly, I was indifferent until I began my research for the film. I believe our exploration reveals a fascinating layer of depth that many may not have realized existed for a long time.
io9: I totally understand! The potential of unicorns can be incredibly fierce. Let’s kick things off by discussing how you became involved in this project. The journey seems wild!
Scharfman: The concept struck me unexpectedly; the opening scene just materialized in my mind without a clear origin. This kind of creative spark can happen where you envision a scene and ponder its context. It naturally evolved into a thread that led me to consider the implications of hitting a unicorn with a car. It raised deeper questions about the essence of unicorns and what they symbolize for us as a society.
io9: When you envisioned this scenario involving a father and daughter, did you immediately think, “Paul Rudd would be the perfect dad”?
Scharfman: Initially, no. The concept came before specific characters or actors; it was simply a scenario that captivated my imagination. It took me a couple of years to really dive into exploring it further.
io9: Absolutely. The narrative also felt reminiscent of a Kurt Vonnegut short story, utilizing fantastical elements to convey a sharp satire.
Scharfman: I must confess, I’m a massive Kurt Vonnegut enthusiast! He has a peculiar tale about a father and son set in the Middle Ages, which is quite interesting.
io9: Indeed! His unicorn hunting narrative.
Scharfman: Unicorn Trap.
io9: Right!
Scharfman: Yes, you know the story.
io9: While writing, did you consciously think of that, or was it purely coincidental?
Scharfman: Honestly, it was more coincidental. I’ve read and own the complete Vonnegut anthology, having explored every short story he’s written. However, this particular story didn’t actively influence my thoughts, as unicorns play a minor role in it. The focus is more on the relationship between the father and son.
io9: Given that context, it’s clear you have a strong passion for satire. Do you believe there are essential elements to crafting a satire film like this, especially in an era where real life often mirrors satire?
Scharfman: Interestingly, I began outlining this film in 2019. During that time, Knives Out had just premiered, and I was excited about the resurgence of satire. We’ve seen a plethora of satirical works recently, often focusing on class commentary. My exploration into unicorn mythology revealed inherent themes of class and social structures. The tapestries referenced in the film depict a lord dispatching his minions to hunt unicorns for personal possession, encapsulating the commodification of nature and the social hierarchies that allow one to claim ownership over something beautiful and rare. This was a natural thematic direction for the story.
In the context of 2025, creating a horror satire allows for the fusion of both genres, as they both thrive on metaphorical interpretations. This film presents a unique opportunity to intertwine these metaphors. Given the current climate, the film intentionally adopts a less subtle approach. In a time when the world’s wealthiest individuals occupy positions of power, it feels appropriate to create something direct and potentially cathartic. I wanted to convey a sense of violent restorative justice through the unicorns, reflecting the current societal mood.
io9: Much like the whales versus yachts analogy! It’s intriguing how you tapped into this cultural pulse, especially with Will [Poulter]’s portrayal of a tech bro that feels all too familiar.
Scharfman: I completely agree! I feel incredibly fortunate to have Will in the film, delivering such a vibrant performance. His character is both humorous and exaggerated, yet grounded in a psychological reality that prompts reflection on how we arrived at this point as a society. The archetype of the millennial tech bro—self-styled as a master of the universe—reflects a certain bravado that characterizes their worldview.
io9: The ensemble cast you assembled, including the likes of Richard [E. Grant] and Paul [Rudd], is phenomenal. Watching Jenna maintain a straight face amidst the chaos is impressive! The grandfather clock scene with Anthony [Carrigan] was particularly amusing; I didn’t catch it until Jenna pointed it out!
Scharfman: That scene is one of my personal favorites; it always makes me laugh. The film draws inspiration from various creature features from the ’70s to ’90s, as well as class satires in the genre, like Luis Buñuel’s The Exterminating Angel and Robert Altman’s Gosford Park. These ensemble films feature characters representing archetypes that symbolize broader societal issues. Within this contained film ecosystem, characters can take on larger-than-life personas, adding an element of theatricality and camp.
It was a joy to create this ensemble, with Jenna as the audience’s surrogate—our perspective character. Her values align with those we agree with, placing her at the center of this strange world filled with eccentric individuals, particularly the Leopold family and their schemes. Paul’s character recognizes the madness around him but seeks something from these unpredictable people, while Jenna’s character remains skeptical of their antics.
io9: Revisiting your inspirations for the creature feature aspect of the film, I definitely sensed influences from John Carpenter and Amblin. Could you elaborate on the mechanics of bringing unicorns to life through a blend of practical effects and CGI, and how you integrated them into the narrative? I appreciate that you didn’t shy away from showcasing them!
Scharfman: In a modern creature feature, it’s essential to fulfill audience expectations, especially in a film intentionally reinventing a mythical creature. We opted to keep the unicorns shrouded in mystery initially, using shadows and fog, but by the film’s climax, we reveal them in broad daylight, allowing viewers to experience the thrill of seeing these creatures clearly.
io9: What methods did the actors use to interact with the unicorn in those suspenseful scenes?
Scharfman: We utilized a mix of elements, including live horses on set, puppets, and beautifully crafted large puppets. The puppets were an absolute delight, and we incorporated them whenever feasible. It was crucial to have as many practical elements as possible throughout the production—not only for the actors but also for composing shots. This tactile approach enhances the overall filmmaking experience.
While visual effects were utilized, we also employed puppet heads for lighting reference, and puppeteers were on set to guide the actors on the creature’s positioning and movements. This hands-on approach created a genuine interaction, with some scenes featuring only puppets. Crafting this aspect of the film was an exciting puzzle that added depth to the storytelling.
Death of a Unicorn premieres this Friday.
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