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Tag: Rosemary Rodriguez

Award-Winning Writer and Director Rosemary Rodriguez talks about her film ‘Silver Skies’ with Susan Kouguell for SCRIPT MAGAZINE

 

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Rosemary Rodriguez

Last year I sat down with writer and director Rosemary Rodriguez in New York City to talk about her career trajectory, and directing for television for this publication.

Rodriguez’s television credits include The Good Wife (she directed 18 episodes, more than any other director in the seven seasons of the series) The Walking Dead, Amazon’s Sneaky Pete starring Bryan Cranston, Marvel’s Jessica JonesEmpireSex & Drugs & Rock & RollOutsidersLaw and Order: SVU,  and Rescue Me. Acts of Worship, Rodriguez’s first feature, which she wrote and directed, premiered at the Sundance Film Festival, and was nominated for two Independent Spirit Awards, including the John Cassavetes Award for Best Feature.

We recently caught up to talk about Silver Skies, her second independent feature film, which she wrote and directed. The film is being released by Joe Amodei and his company Virgil Films Entertainment (VFE) and will be available on DVD and Streaming on Amazon and iTunes April 4, 2017.

Silver Skies chronicles a group of seniors whose lives are turned upside down when their Los Angeles apartment complex threatens to be sold out from under them.

The film won the Audience Award at the Fort Lauderdale Film Festival, Best Feature at the Manhattan Film Festival, Best Comedy at the Tiburon International Film Festival, Best Film at the Live Free or Die Film Festival, and it was the Closing Night film at the Palm Beach Film Festival.  Alex Rocco won Best Supporting Actor at the Madrid International Film Festival.

Silver Skies PosterRodriguez: The film opened in September 2016 in a limited theatrical run, playing eight weeks in Palm Springs and eight weeks at The Villages in Florida. We played in Orange County, Arizona and around Florida. Little by little, it’s kept going. We are finishing our theatrical run March 30.

Kouguell: Tell me about the evolution of Silver Skies.

Rodriguez: It took about ten years.  I went to the MacDowell Colony with an outline for ‘Silver Skies and wrote the script there. Then, when I directed an episode of Law and Order, I hit it off with the show’s star Dennis Farina. He loved the script and helped to get the movie made. Two years later I called Dennis, told him we got the money, and we picked the start date. Two weeks later he passed away. I was devastated by his passing. Sometime later we had a script reading and producers Fred Roos and Arthur Sarkissian came, and they said, ‘let’s do this movie.’ The movie is dedicated to Dennis.

Kouguell: Did your actors have any input into the script?

Rodriguez: Yes, they definitely did. I’m a big collaborator; I want to hear what people have to say.  For example: George Hamilton’s character is in the early stages of Alzheimer’s.  Jack McGee’s brother, George Hamilton’s mother, and my dad, all had Alzehimer’s and we shared our respective experiences to further develop George’s character. In a way it was a tribute for George to his mother, for Jack to his brother, and mine to my father.

Kouguell: You describe Silver Skies as very personal and inspired by your parents’ aging. The characters of Nick and Phil are inspired by your father, who was a bookie in Boston, and the character, Eve, by your mother.

Rodriguez: Valerie Perrine’s character always has flowers; that was my mother. I watched my parents get old when I was still young and I saw how their relationships changed.  I think seniors don’t have a voice in this world.  These are people who want to have sex. They want to work. They want to spend money. Make money. Have money.

On 'Silver Skies' with George Hamilton

On ‘Silver Skies’ with George Hamilton

Kouguell:  These issues about sex and money, as well as ageism and women’s power, are themes in Silver Skies that dare to challenge the viewer. Indeed, these topics have resonated with your audiences.

Rodriguez: The audience response was incredible and that’s what kept us going! When we had no money for marketing, people would show up to see these actors that they miss: George Hamilton, Valerie Perrine, Barbara Bain, Mariette Hartley, Jack Betts, Jack McGee, Alex Rocco. Then as they watched the movie, something wonderful happened: they would stop seeing the actors and start seeing themselves in these characters! That was my goal! These incredible actors pull off some extraordinary, relatable performances.

Kouguell:  ‘Silver Skies’ also doesn’t shy away from thought-provoking subjects, including sexual assault and pornography.

Rodriguez: There is a part of the storyline that is very provocative. It involves a sex addict who’s addicted to online porn. This is something that is happening in society, breaking up families, people getting arrested. We barely discuss it even though it is impacting how we relate to each other in profound ways. I put it in Silver Skies to shed light on it and to provoke thought.  It was risky in this film. What I learned from seniors is that they are ok with everything because they’ve seen it all and they are not afraid to face issues head on. I was so inspired by our audiences!

Seniors are the topic of many conversations these days: whether it’s the ACA or senior housing. and Silver Skies seems to hit home with all seniors and their children and grandchildren. I’ve learned from audiences what I thought all along: that this movie is for all generations. Many people are dealing with Alzheimer’s, not enough money for retirement, not getting hired to work anymore, and all the things that society throws at an aging person in our society. They become invisible. Just when life needs to get easier, it’s supposed to, it gets harder because of our society’s priorities. I want to fight for seniors to be seen and heard. It’s up to us to take care of each other.

Award-Winning Writer and Director Rosemary Rodriguez talks about her film 'Silver Skies' with Susan Kouguell

Jack McGee, Alex Rocco, George Hamilton, Valerie Perrine, Jack Betts and Barbara Bain in SILVER SKIES – Photo courtesy of Roar Productions

Movie distribution is very difficult for character-driven films today. It really takes grass roots efforts and word of mouth for a film to succeed. I’m hoping with the state of politics in our country today, that movies will help bridge the gap between people. The amazing gift of movies is that an audience is drawn into a character’s life and can experience empathy for another’s situation, even if the audience member is from another place, time, financial situation, gender, race, etc. Characters are human beings going through an experience, and we get to experience things through movies that change how we look at life. That is crucial today. We need love and empathy more than ever with so many people feeling afraid, marginalized and judged.

The ‘Director’s Chair’ Podcast

The Director's Chair (Audio)Kouguell: We’ve spoken a great deal about your love of collaboration.  Your Podcast ‘The Director’s Chair’ available on iTunes, has welcomed writers, producers, directors, and actors, including Jessica Jones star Krysten Ritter, to discuss collaborating.

Rodrigues: In the show I talk with my guests about what works for them when collaborating and what doesn’t, what is their creative process, and more. There’s a great episode with Nestor Rodriguez and I talking about collaborating on ‘Silver Skies’.

Upcoming Projects 

Rodriguez: I’ve adapted the memoir Loose Girl, by Kerry Cohen, for a feature film, which has producers attached, MarWin Films.  I’m directing a documentary about pioneering graffiti artist Lee Quinones, produced by Rosadel Varela. And I’m pitching Silver Skies as a TV Series.

Final Words

Rodriguez:  Silver Skies tells the story of people who make a choice to fight back when the system deems them unimportant. We need more movies that help us navigate this crazy world and our feelings about it.  I’m hoping financiers and studios see the importance of telling these stories now more than ever.

Learn more here about Rosemary Rodriguez and Silver Skies.

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Director Rosemary Rodriguez Bids Farewell to ‘The Good Wife’ and Hello to ‘The Walking Dead,’ ’Sex & Drugs & Rock & Roll,’ and Much, Much More… (for SCRIPT MAGAZINE)

Director Rosemary Rodriguez Bids Farewell to ‘The Good Wife’ and Hello to ‘The Walking Dead,’ ’Sex & Drugs & Rock & Roll,’ and Much, Much More… by Susan Kouguell | Script Magazine #scriptchat #screenwriting

Rosemary Rodriguez and I met for a few hours at a cafe on New York’s Upper East Side on a picture perfect afternoon. Joking about the sometimes deafening noise of the passing motorcycles and trucks, we agreed that the background sounds definitely would not be ideal for a film shoot but it was just the right setting for our interview.

Just days earlier, Rodriguez attended The Good Wife series wrap party at the Museum of Modern Art. Rodriguez holds the distinct honor of directing 18 episodes of the show, more than any other director in the seven seasons of the multi-award-winning series. Episode 20, The Party, the final Rodriguez directed, had just recently aired.

Rodriguez’s long and impressive list of television directing credits include Marvel’s Jessica Jones, Empire, Sex & Drugs & Rock & Roll, Outsiders, Hawthorne, Law and Order: SVU’s Rescue Me, Castle, Blue Bloods, Elementary, and Criminal Minds. Silver Skies an independent feature Rodriguez wrote and directed, just won Best Feature at the Manhattan Film Festival in April, Best Comedy at the Tiburon International Film Festival, and the Audience Award at the Fort Lauderdale Film Festival. Joe Amodei and his company Virgil Films Entertainment (VFE) are releasing the film.

Director Rosemary Rodriguez Bids Farewell to ‘The Good Wife’ and Hello to ‘The Walking Dead,’ ’Sex & Drugs & Rock & Roll,’ and Much, Much More… by Susan Kouguell | Script Magazine #scriptchat #screenwriting

“Parenting Made Easy”–Behind the scenes with Director Rosemary Rodriguez (left) and actress Julianna Margulies on the set of THE GOOD WIFE airing Sundays (9:00-10:00 PM, ET/PT) on the CBS Television Network. Photo: Jeffrey Neira/CBS ©2011 CBS Broadcasting, Inc. All Rights Reserved

It would be an understatement to say that Rosemary Rodriguez is in high demand.

Directing for Television: A Week in the Life

Kouguell:  Television directing is a collaborative process with the actors, production heads, writers, crew, and so on.  You’re not just a hired gun who steps in and waves her hands like a magic wand and everything falls into place.  You have X amount of time, often one week or less, to direct an episode.  What’s a week in the life scenario for you directing a television episode?

Rodriguez:  A day consists of either waiting for the script or I get the script for an episode and start reading. For the first read-through I look for the emotional thread of the episode and determine what it’s about. I start formulating those ideas about what’s really going on in that story and how I can go from beginning, middle, and end of the story and be able to have a completion in the episode.

From then on, I’m anxious until I get on set with actors, then I’m okay. I start sleeping better after that read. I start getting into details like location; how many locations there are, how long are the scenes, are there any scenes that have a lot of people in them or maybe one or two characters don’t have very many lines or don’t really talk, and I wonder what’s their purpose in the scene and what is everyone doing.

Susan Kouguell sits down with writer/director Rosemary Rodriguez, director of Good Wife, Marvel’s Jessica Jones, Empire, Sex & Drugs & Rock & Roll, Outsiders, Criminal Minds and more! #scriptchat #screenwriting

On the set of ‘Hawthorne’ with Jada Pinkett Smith and Marc Anthony

I also start thinking about how the actors are going to respond to the script. I read it to see what each character’s journey is and what they’re doing. If there are any issues with that I make notes. If there are four or five people in the scene, or if you have one person who’s just standing around who has maybe just one line. I think about each character’s purpose in the scene.

I look for ways to visually tell the story — if there’s any kind of prop I can use or insert into the scene to tell that story or locations; it may not be in the script.

We go into prep and start a number of meetings. We have a concept meeting where everyone except the actors, are in the room because the actors are always shooting while you’re in prep.  We get in a room together, the heads of production and discuss what’s coming down the road. For example we have a party here in this scene so we have to have food and flowers.  And then, whoever wrote the script comes in and we hear what they have to say. By this point, I’ve already formulated my ideas about what I think the script is about and then I get to hear about what the writer thinks. Quite often, depending on the show, it’s usually in sync and if it’s not, it usually helps me see things in a different way. Sometimes I will pitch things of what I may see and it will help writers articulate their ideas. I get to work with really great writers and we then just start collaborating.

Susan Kouguell sits down with writer/director Rosemary Rodriguez, director of Good Wife, Marvel’s Jessica Jones, Empire, Sex & Drugs & Rock & Roll, Outsiders, Criminal Minds and more! #scriptchat #screenwriting

Rodriguez and Denis Leary on the set of ‘Sex & Drugs & Rock & Roll’

Then we get into casting and in that concept meeting, the casting director will be on the call, as well as the writer of the show, and the creator.  It depends on who’s in the meeting; it’s different with every show. At that point we have an idea of who the characters are and who we’re going to be casting and we get to hear from the writer about what they’re thinking about. If I’m thinking about a certain thing for a character or a certain actor that’s when I would give my suggestions. That’s when you start collaborating about casting.

After that, we have more specific meetings — wardrobe, hair and makeup meetings. We location scout, go to casting and then eventually we have a production meeting. Then things are on lockdown and then we approve things separately. The department heads come together again and we have a production meeting, to go over more details, including what are we going to see in that frame and any other issues.

Prep is really about solving problems together. Usually in the beginning of the process, but not always, we have a tone meeting. It can include me, the writer of the script, and the creator of the show; we will go over the script scene by scene and if I have questions at that point, such as: What is the motivation here? Why is his character doing this hereHow about if I shoot that this way? I think this scene is from her point of view — then they will tell me what their thoughts are and that’s where conceptually it all comes together.

The other meetings are of course with the production designer, I go over the set and blocking with my AD and team, and we’ll do a little DGA theater so I know what the blocking is going to be for every scene.

That’s all in the perfect scenario.

And then that scenario blows up when the script comes late.

Late scripts are a huge problem in television because for a network show you get seven days of prep for an eight-day shoot and for cable you usually get seven days prep for a seven-day  shoot. Sometimes you don’t get the script until a few days into prep; you might have an outline or you might have nothing. You might just say, Hey, we’re looking for a hospital room or a school, so you just go scouting. It depends on the show. It infringes on my job, of course, so it can sell the whole episode short.

Jessica Jones

Marvel’s Jessica Jones and Pushing the Envelope

Kouguell: The Jessica Jones series does not shy away from violence. Episode 10, which you directed: “AKA 1000 Cuts,” was very haunting and graphic.  It effectively revealed glimpses of Jessica’s back story with Kilgrave, whose character in some ways becomes slightly empathetic (not sympathetic) because we learn more about his character, his vulnerabilities in this episode.

Rodriguez: Jessica is a great character that I connected with immediately because she’s so flawed and she’s been abused. I think the issue of rape and overcoming that, and how one deals with that, which is something that Melissa Rosenberg created, is so unique in this show. People respond to Jessica’s character and the humanity of her character even though she’s a superhero and I think that’s brilliant.

For me, every story involves finding the truth and the humanity of people. We all have darkness, and we all fall prey to judging each other rather than digging deeper and trying to have empathy or at least acceptance. Empathy is not always possible because things can be so dark; this is part of humanity whether you like it or not.

The story with Kilgrave was that he had the power to get anyone on the planet to do whatever he wants. This is very dark especially the way he uses it. But, at the core of it, the scene on the rooftop and for just a few seconds, you have this window where you could have left and you didn’t. I thought it was interesting that no matter what powers Kilgrave had, he still wanted some form of love that was authentic and real.

I felt at that point in the story and the series, I had an opportunity with the violence to actually physically show the depth of his darkness in a physical way. That’s why I wanted to be very graphic. Within the same episode is the flip side, the opposite, which is that desire of love. We see Jessica’s flaws and yet she’s so tough. (Krysten Ritter is the most amazing actress; I have so much respect for her talent.) To be able to have an episode where you also see Jessica in a dress and her vulnerability and innocence — I love those extremes; those are the things that jump out at me. I want to tell that story.

Kouguell: Tell me at your Podcast ‘The Director’s Chair

Rodriguez: I have writers, producers, actors, and other directors on my podcast to talk about collaborating. I love collaborating; that’s when the creative process is best.  So far, I’ve done 11 episodes on iTunes. Krysten Ritter came on so we could talk about Jessica Jones. In the show I talk with my guests about what works for them when collaborating and what doesn’t, what is their creative process, and more.

Kouguell: What’s coming up next for you?

Rodriguez: This summer I’m directing an episode of The Walking Dead — I’m really excited about that and also working on Sneaky Pete for Bryan Cranston’s Company that’s going to be a new series on Amazon; the pilot is up now. For Showtime, I’m developing Florent with Alan Cumming, and I’ve adapted the memoir Loose Girls written by Kerry Cohen, for a feature film, which has producers attached and we’ve started that process.2016 RODRIGUEZ RosemaryCrane

Kouguell: Let’s end with a flashback to 2001 and your first feature Acts of Worship, which you wrote and directed. (The film premiered at the Sundance Film Festival, and was nominated for two Independent Spirit Awards, including the John Cassavetes Award for Best Feature.)  How did that experience shape you to be the writer and director you are today?

Rodriguez: It taught me the biggest lesson of all, which is that I have a voice and that it was okay to express it. And, that I had a gift. I can’t say that after the movie I knew how to act on that gift yet, but it was the discovery of that gift. It was the discovery of why I was on this planet. So that’s a big deal. I get confirmation with every show I make; it just gets deeper and deeper. That’s why people just have to keep writing, keep creating because it’s not just about creating, it’s about gaining confidence with everything you write, to know that you can do it.

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ROSEMARY RODRIGUEZ and SILVER SKIES (INDIEWIRE/SYDNEYSBUZZ)

A Conversation With Director Rosemary Rodriguez About Her New Film ‘Silver Skies’

by Susan Kouguell

 

“Silver Skies,” Rosemary’s second feature, chronicles a group of seniors whose lives turn upside down when their Los Angeles apartment complex threatens to be sold out from under them.

Jack McGee, Alex Rocco, George Hamilton, Valerie Perrine, Jack Betts and Barbara Bain in "Silver Skies"

I had the pleasure of speaking with writer and director Rosemary Rodriguezin midtown Manhattan two days before her film “Silver Skies” will have its United States premiere at the Woodstock Film Festival on Saturday October 3.

Rosemary Rodriguez wrote and directed the feature, “Acts of Worship, “which premiered at the Sundance Film Festival, was nominated for two Independent Spirit Awards, including the John Cassavetes Award for Best Feature. Her episodic TV work includes “Empire,” “The Good Wife,” (where she is a regular director), “Manhattan,” “Rake,” “Elementary” and “Vegas.” She is currently directing the new Marvel series on Netflix, “Jessica Jones.”

“Silver Skies,” Rosemary’s second feature, chronicles a group of seniors whose lives turn upside down when their Los Angeles apartment complex threatens to be sold out from under them.

 

We began our conversation talking about the evolution of “Silver Skies.”

Rodriguez : It took about ten years. I ended up going to the MacDowell Colony with an outline for “Silver Skies” and wrote the script while I was there. Then, when I directed a “Law and Order” episode, I hit it off with (star) Dennis Farina and he loved the script. He helped to get the movie made. Fast forward almost two years later I called Dennis and told him we got the money. We picked the start date, and then he passed away two weeks later. I was devastated when he passed away. But then things fell in place. Fred Roos and Arthur Sarkissian came to the reading of the script, and they said, ‘let’s do this movie.’ The movie is dedicated to Dennis. He was my guardian angel.

Kouguell:
In “Silver Skies,” the theme of ageism is tackled straight on. The characters in this ensemble piece are threatened with the possible loss of their
homes and livelihood. You describe “Silver Skies” as very personal and inspired by your parents’ aging. The characters of Nick and Phil are inspired
by your father, who was a bookie in Boston, and the character, Eve, by your mother.

Rodriguez
: Valerie Perrine’s character always has flowers; that was my mother. I watched my parents get old when I was still young. I saw how their relationships
changed. You think logic would say life would get easier when you get older, but the emotional truth is that life still happens on its own terms. I think
seniors don’t have a voice in this world. These are people who want to have sex. They want to work. They want to spend money. Make money. Have money.

Kouguell:
You don’t shy away from thought-provoking issues, facing this generation, including the sexual assault of one female character and another main character’s
choice she made of personal survival that causes the death of her spouse.

Rodriguez
: My role model for directors is Robert Altman. His movies were a slice of life. The ironic thing about being a human being on this planet is that you have
no idea what is going to happen next. The movie is real life. You’re going on a roller coaster ride; there are parts you’re laughing because life is like
that, and then the rug gets pulled right out from under you.

The issues women go through, and with this female character with her husband abusing her, and feeling guilty over surviving, doing whatever she had to
survive, whatever way she needed to behave was maybe ‘not as a good girl’ would, and coming to terms with that. Sexual abuse to elders is real. Elder abuse
is real. I wanted to bring that issue in, as well as bring in that feminist message in there.

Kouguell: 
In “Silver Skies,” the trepidation and excitement of newfound love is complicated by raw emotion as seen in one character’s
personal and financial insecurities with a recent widow.

: Love doesn’t stop people at a certain age, it doesn’t stop their desires. It doesn’t matter what age we are. To work with these wonderful actors and Alex
Rocco in particular — he was just like a teenage boy when doing his scenes with Valerie Perrine, saying: “I’m used to playing killers, I’m not used to
playing lovers.”

(Alex Rocco passed away July 18of this year.)

Rodriguez
: The recent memorial for Alex was on the racetrack: “Friends of Rocco” – it was the seventh race, it was dedicated to him. I loved him dearly. I miss him
dearly. It was intended as a celebration of this wonderful man. His character reminds me of my dad. As I told my dad when it became clear he had to retire,
I told him, “You always wanted to go out a winner.”

Kouguell: 
The film stars Barbara Bain, George Hamilton, Jack McGee, Valerie Perrine, Mariette Hartley, Howard Hesseman, Jack Betts, and Alex Rocco. Did they have any
input into the script?

Rodriguez
: They definitely did. They stuck to the script a lot. I’m a big collaborator; I want to hear what people have to say. In the film George Hamilton’s
character is in the early stages of Alzheimer’s. Jack McGee’s brother, George Hamilton’s mother, and my dad, all had Alzehimer’s and we shared our
respective experiences to further develop George’s character. In a way it was a tribute for George to his mother, for Jack to his brother, and mine to my
father.

Kouguell: 
You’ve earned great success as a director on “The Good Wife.” How has directing television influenced your work as a director on “Silver Skies”?

Rodriguez
: I can work efficiently and quickly, and in television that’s some of the skill set that gets developed. My instincts are very sharp. The idea out there is
that we’re less creative working in television, but the real truth is we’re under such pressure that we can make decisions quickly, and also go with your
heart and instincts. It’s very quick and very satisfying, and of course millions of people see your work in a shorter window of time and that is opposite
of a movie.

Kouguell:
Currently, you are the 4th Vice President of the Directors Guild of America. Although there is more media attention on the low percentage of women
directors getting work in the industry, the numbers are still not rising fast enough.

Rodriguez
: The DGA works very hard and we all work hard to address the issue of diversity. It’s been a problem for many years. My involvement in the DGA is
reflective of how much the DGA cares about women directors and minority directors, and wants to get us out there. It’s a benefit to the Guild. There’s a
lot of content there now and opportunity for diversity. I want to be meeting with you in a few years when this isn’t an issue any more; where there are not
“female directors” – that there are just great storytellers and that we don’t have to separate each other.

Kouguell:
Some final words about “Silver Skies”?

Rodriguez:
The way these actors enriched my life was unexpected and so profound. These are people with 50 and 60-year careers in a tough industry. These actors showed
up and put their hearts in these characters. They’re artists. They were there for the love for what they do. They just loved the characters. They had
beautiful chemistry together. We are part of each other’s lives. I never could give back to them what they gave to me.

 

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