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Screenplay & Film Consulting By Susan Kouguell

Month: September 2015

Marcel Ophüls – The Memory of Justice

Written by Susan Kouguell for SydneysBuzz

A Conversation with
Academy Award-Winning Director
Marcel Ophüls

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Several days prior to the “The Memory of Justice” (1976) screening of the newly restored film at the New York Film Festival, on September 27, Professor Regina Longo, Cinema Studies faculty at Purchase College, SUNY, moderated a discussion with Oscar-winning director Marcel Ophüls.

From the New York Film Festival: “The third of Marcel Ophüls’ monumental inquiries into the questions of individual and collective guilt following the calamities of war and genocide, ‘The Memory of Justice’ examines three of the defining tragedies of the Western world in the second half of the 20th century, from the Nuremberg trials through the French-Algerian war to the disaster of Vietnam, building from a vast range of interviews, from Telford Taylor (Counsel for the Prosecution at Nuremberg, later a harsh critic of our escalating involvement in Vietnam) to Nazi architect Albert Speer to Daniel Ellsberg and Joan Baez.”

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Marcel Ophüls

Conversation Highlights

On  The Memory of Justice

Making the film — it was not sense of mission. I didn’t think I had to teach other people what the Holocaust was about or what other aspects of World War II were about. It was my job to make an audio visual form of storytelling of contemporary events. I don’t want to change the world. I think that’s much too big a job.

On Interviewing

I don’t script in advance at all. I don’t know what people will tell me in advance and they usually know in advance why you want to see them. it’s often the things that surprise me, that tend to surprise the public. I think the films I’ve tried to do, only come to life when the interviews become conversations.

React to what the person has told you as quickly as possible and get away from the prepared questions. If you don’t respond to their thoughts, what he or she has just told you, you never get a conversation, you get only an interview.

I try to get away from the idea of talking to a person (the subject) before the interview otherwise you have to explain too much. Well, you talk to the person on the phone beforehand when you set up an interview, but I don’t talk about the subject matter. You need to communicate minimal information. It’s the details of the answers, even if they go into a tangent. To me, it’s the spontaneity. Anything that interferes with spontaneity is bad.

I’m rather a passive interviewer. I don’t interfere very much.

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Role of Editing

The role of editing is really doing all the work that is necessary like when you do a narrative film. The structuring work is done in the editing room on the basis of the rushes. There are some ideas beforehand.

All films should be narratives whether fiction or not. Storytelling is awfully important. A story with a beginning, middle and end.

On Objectivity

I’ve become more and more convinced that objectivity (in documentaries) doesn’t exist. This includes journalists, even in local news, reporters who report about a fire, some of them go to the fire chief for their information, others will tend to try to get a story with the victims. The choices you make, as an observer of events, are based on your own life and your own interests.

The question is, who narrates and from what point of view.

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“Why must there be exceptions?” Marcel Ophüls asks one of his subjects in The Memory of Justice.

The many ways in which Ophüls’ subjects justify their actions in this film allow viewers to draw their own conclusions. The film examines the collective versus individual responsibility, a theme further underscored when Ophüls, an exile from Nazi Germany interviews his wife, a German woman, who recounts her membership in the Hitler Youth.

“THE WALK” NEW YORK FILM FESTIVAL

PHOTOS FROM TODAY’S
NEW YORK FILM FESTIVAL’S
PRESS SCREENING OF

THE WALK

 

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Director Robert Zemeckis

2015 SEP 26 THE WALK JOSEPH GL

JOSEPH GORDON-LEVITT

Joseph Gordon-Levitt

Joseph Gordon-Levitt & Charlotte Le Bon

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James Badge Dale (L) Ben Schwartz (R)

THE WALK 2 Joseph Gordon-Levitt 3

JOSEPH GORDON-LEVITT

DE PALMA documentary at the New York Film Festival

A Conversation with Noah Baumbach and Jake Paltrow 
on Brian De Palma and their New Documentary De Palma 
at the New York Film Festival

By Susan Kouguell

“I lived in a family of egotists” – Brian De Palma in De Palma
Noah Baumbach and Jake Paltrow 

at the New York Film Festival
Noah Baumbach and Jake Paltrow 

at the New York Film Festival

In the documentary “De Palma” directed by Noah Baumbach and Jake Paltrow, iconoclast American director Brian De Palma talks directly to the camera, in an honest recounting of the highlights and low points of his movie-making career. Only De Palma is seen interviewed on camera; no other talking heads, no other voice-over interviews from either Baumbach or Paltrow are seen or heard.

Paltrow: “The film was shot with one camera and one angle on Brian. There are no other people talking about Brian. It was our direct approach to him.”

Intercut with clips from De Palma’s body of work from the 1960s to the present, as well as from other directors, most notably Alfred Hitchcock, the film moves at a rapid pace with honesty and a sense of humor, as it explores how movies get made (and often not the way intended) and how they don’t get made.

Directors Baumbach and Paltrow describe their documentary as an extension of their friendship, having spent time with Brian De Palma over the last ten years.

Paltrow: “We kept it in the same spirit as having coffee with him.”

Noah Baumbach
Noah Baumbach

Baumbach: “Brian was totally open and available. We wanted to talk about filmmaking. We weren’t going to go in areas that were uncomfortable for him. We’d let him guide, knowing that we would let him lead the way.”

Paltrow: “The most surprising for us about Brian was how electric he was on camera; how he told these stories the same as he did with us at dinner. He was so good on camera. So direct. So made for cinema.”

From the success of his films “Carrie,” “Dressed to Kill,” “Blow Out,” and “Carlito’s Way” to the box-office failures, including “The Bonfire of the Vanities” and “Mission to Mars,” De Palma is candid about his successes and failures.

 

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