Anthony McCarten, the three-time Academy Award–nominated screenwriter known for “The Theory of Everything,” “Darkest Hour,” and “Bohemian Rhapsody,” uses the word “aspect” literally. Where a less careful speaker might wield the noun in reference to some casual characteristic, McCarten means it in precise measurements—the affect that a pair of glasses might lend to someone’s face, or the musicality, jazz or classical, with which a character speaks. When McCarten muses that “it’s the aspects of a person I respond to deeply,” he says so with the studied dedication of a writer busy deciphering wrinkles and parsing out pores.