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Screenplay & Film Consulting By Susan Kouguell

Month: November 2018

Susan’s article: Diversity in Film at Producers Guild of America’s Produced By: New York Conference

November 28, 2018 / / Comments Off on Susan’s article: Diversity in Film at Producers Guild of America’s Produced By: New York Conference

Diversity in Film at Producers Guild of America’s Produced By: New York Conference

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At the recent Producers Guild of America’s Produced By: New York conference held at the Time Warner building in Manhattan, producing and collaboration panels emphasized the continued need for diversity, both in hiring and onscreen representation, as well as writing and filmmaking in this current political climate.

Here are some highlights from the Producing Masterclass events.

Emily Blunt, Rob Marshall, Ronny Chieng, John Penotti

Mary Poppins Returns

Director Rob Marshall and star Emily Blunt discussed their upcoming film Mary Poppins Returns (they previously collaborated on Into the Woods). Blunt stated, “It’s a divisive time. Here’s a film that could be a great unifier. This is what the world needs. You can feel the acrimony and the bitterness, and here’s the opportunity for hope to reappear literally from the skies.”

Marshall said he chose to set the film during the Great Depression because of the parallels between that era of economic instability and our present social climate. “It’s a message of hope in a very dark time, which is what I feel we’re in these days.”

They also remarked on their trepidation about remaking the classic 1964 Mary Poppins and Blunt’s concern about playing the role made famous by Julie Andrews, recounting a talk she had with a friend who encouraged her to take the role: “Dude, you’ve got balls of steel.” Blunt added: “It’s the most delicious character I’ve ever played.”

Kevin Wilmott

BlacKkKlansman

Director Spike Lee’s BlacKkKlansman documents the 1970s police’s infiltration of the Ku Klux Klan and closes with images of the 2017 Charlottesville Virginia riots. Producer Jason Blum remarked, “To me, the message of BlacKkKlansman, which I tell people when they’ve asked me, is very simple: Racism is stupid, and people who are racist are stupid, and people in the KKK are stupid racists, period. That’s what the movie is about.”

The film’s co-screenwriter, Kevin Willmott added, “You would think we wouldn’t have to say that!” Willmott continued, “It’s a really historic time we’re living in. People will look back and say, wow that’s when it happened, that’s when it was either going to go to hell or come back. We tried to…make something humorous that’s not funny. With hate, you have to get as close to the hate as you can and by doing that, you reveal the absurdity. That’s where the humor lies.” Regarding the hatred instigated by KKK Leader David Duke in the film, Willmott said, “That kind of hate has become part of the mainstream and it’s in the White House. It’s bizarre—if we had tried to write this, people would have said you can’t expect us to buy this crap. And yet it’s happened.”

Anne Carey (L) Marielle Heller (R)

Can You Ever Forgive Me? 

The film Can You Ever Forgive Me? chronicles the true story of Lee Israel (Melissa McCarthy), the writer and literary forger, and her accomplice and friend Jack Hock (Richard E. Grant). Producer Anne Carey and director Marielle Heller revealed the importance of the two main characters’ final meeting (Spoiler Alert).

Carey: “Hock didn’t really have an ending, it was only about Israel’s ending. One of the beautiful things that Mari (director Heller) did was give them a weighted moment. It was in the book actually—that line in the book, it says, ‘I saw you and I felt like I wanted to fucking trip you.’ That was a line in the book that hadn’t been in the script and Mari read the book and brought that line right back and gave them that scene.”

Heller stated: “I wanted to set it in the context of the AIDS crisis in New York, because the truth of the matter was that wasn’t part of the story so much when I came on board, but it was the truth of what these characters were living in. It was 1991 in New York. He was a gay man. The real Jack Hock died of AIDS, so it was important for me that that wasn’t something we were softening or skating over for the sake of telling an entertaining story.” Heller said at her first meeting with Searchlight: “This is the most important thing to me that we bring in—the reality of the context of who these people are and where they’re living.”

Jason Blum (L) Garbriela Rodriguez (R)

Roma

The timely themes of Alfonso Cuarón’s semi-autobiographical film Roma about life in Mexico City in the early 1970s, were addressed by producer Gabriela Rodriguez and star Yalitza Asparico. Rodriguez said: “Our movie speaks to class diversity and ethnic diversity and strong women characters lead the story.”

Crazy Rich Asians

Often referred to as a cultural phenomenon, Crazy Rich Asians is one of the only major studio films to feature a predominantly Asian cast. Star Ronny Chieng contributed his hilarious insights into the film’s success: “It’s about time we had a movie about rich people. Their stories are under-told. They’re 1% of the population but represent 99% of the power.”

Learn more about the event here.

Susan Kouguell Interviews “Searching for Ingmar Bergman” Director Margarethe von Trotta

November 18, 2018 / / Comments Off on Susan Kouguell Interviews “Searching for Ingmar Bergman” Director Margarethe von Trotta

INTERVIEW: Searching for Ingmar Bergman Director Margarethe von Trotta

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“’Searching for Ingmar Bergman’ was an active but inward process. The film might appear to be an external quest, as it travels from Sweden, to Germany, Spain, and France. But the protagonists, and particularly his sons, his actresses, like Liv Ullmann, Gunnel Lindblom, Julia Dufvenius, and filmmakers of the next generation like Ruben Östlund, Olivier Assayas, and Mia Hansen-Løve, express themselves in such a very moving and intimate way that in those encounters I found what I was looking for—a world of personal experience that resonates with the films.”
                       — Margarethe von Trotta

Director Margarethe von Trotta

About Searching for Ingmar Bergman

Internationally renowned director Margarethe von Trotta examines Ingmar Bergman’s life and work with a circle of his closest collaborators as well as a new generation of filmmakers. This documentary presents key components of his legacy, as it retraces themes that recurred in his life and art and journeys to the places that were central to Bergman’s creative achievements.

About Margarethe von Trotta

Born in Berlin, Margarethe von Trotta is considered one of the leaders of the New German Cinema movement. After studying Germanic and Romance languages in Munich and Paris (where she encountered the Nouvelle Vague and the films of Ingmar Bergman), von Trotta pursued a career in acting, working closely with Rainer Werner Fassbinder and Volker Schlöndorff. Starting with her first independent directorial effort, The Second Awakening of Christa Klages (1978), von Trotta’s filmography lists numerous critically-acclaimed titles, including: Marianne & Juliane (1981), which won the Golden Lion in Venice; Rosa Luxemburg (1986) and Love and Fear (1988) both of which were nominated for the Palme d’Or in Cannes; L‘africana (1990), which was nominated for the Golden Lion in Venice; Rosenstrasse (2003), which earned actor Katja Riemann the Coppa Volpi Award in Venice; and Hannah Arendt (2012), which won the German Film Award. Her first feature documentary Searching for Ingmar Bergman (2018) celebrated its premiere at the Cannes Film Festival and premiered in the U.S. at the 56th New York Film Festival.

The Interview

I had the great pleasure to speak with Ms. von Trotta at the Quad Cinema in Manhattan, which will be celebrating her work with a retrospective: “Margarethe von Trotta: The Political is Personal” November 2-8.

We began our discussion with talking about the theme of the retrospective—the political is personal—in her narrative films, including the powerful sibling relationship in Marianne & Juliane and how this work, as well as many of her other films, remain relevant and poignant today.

KOUGUELL: For many years I’ve taught your work in my cinema studies and screenwriting classes. The Promise (Das Versprechen) was thought-provoking to my students as a hybrid film, incorporating documentary footage within the fictional love story that was inspired by a compilation of interviews you did with people about their experiences during this time period.

VON TROTTA: There was very strong black and white documentary material for the construction of the Berlin wall, which I put in the beginning of The Promise but I could not find strong material when the wall came down. In the early 60s there were no video cameras, there was only 16mm, film and the camera people had to be very aware of what images they wanted to film; that one scene, that one image gives a whole sense of the time. In 1989, when the Berlin Wall was opened for the first night, people went there with video cameras and filmed, but I couldn’t find one image that gave the sense of the importance of that moment. So, I had to make my own.

KOUGUELL: That was interesting in terms of the idea of memory and imposing one’s own story on that historical moment.

VON TROTTA: And that was much more expensive, too. One thousand extras on the bridge coming from the East to the West; that was the most expensive scene I did.

Liv Ullmann (L) von Trotta (R)

KOUGUELL:  You were approached by the Ingmar Bergman Foundation of Stockholm to direct Searching for Ingmar Bergman.

VON TROTTA: One of the producers who is half-Swedish, was planning for Bergman’s 100th birthday, and she asked me to make the film since I knew Bergman personally during his time in Munich. I said in the beginning, ‘No, I can’t do that; I’m such an admirer of his, I’m so fond of him, he was such a genius, I couldn’t dare do this.’  The Bergman Foundation knew my films and asked me to make it in a very personal way; a research of one filmmaker about another filmmaker. They asked me to mainly speak about his time in Munich because nobody knows so much about this period of his life. That was the most personal side of the film.

KOUGUELL: Tell me about working with your son, Feliz Moeller, on this film.

VON TROTTA: My son is a documentary filmmaker (Forbidden Films (2014), Harlan: In the Shadow of Jew Suess (2008) two films about the Nazi time about Nazi filmmakers, and Sympathisanten: Unser Deutscher Herbst (2018). He started as an historian and then he became a documentary filmmaker. When I said to him, I have never done a documentary, he said he would help me. That gave me more courage to do the film. He looked for all the documentary material, which I put in the film, and I did the interviews.

I was used to making narrative feature films, and I knew exactly what to do. I wrote my own scripts, I knew the scenes, the actors, how to direct it, and how to do it in advance. But in a documentary, you make it in the editing room. It becomes a film in the editing room. That was totally new for me.

KOUGUELL: So, there wasn’t much pre-planning for this film.

VON TROTTA: No there wasn’t it. When the Bergman Foundation asked me to make a very personal film, I knew immediately I wanted the scene at the seaside where I was sitting where Max Von Sydow was sitting, looking at the black sky. I knew immediately I had to start with this image.

Our conversation shifted to a personal note about my great, great aunt Therese Giehse, the late German actress whom von Trotta knew, and the connection I felt to von Trotta’s narrative films, which often have included the incorporation of actual historical events and weaving in the personal and the political lives of her characters.

VON TROTTA: Giehse was a big figure, and very courageous in her political meanings of her work. And her work with Bertolt Brecht.

KOUGUELL: You, Giehse, and Bergman shared a personal common experience—relocating to a foreign country and not necessarily by choice. Giehse was exiled from Germany during World War II.

VON TROTTA: I was stateless until my first marriage. Bergman felt stateless when he left Sweden accused of tax evasion, he felt so humiliated. Humiliation for him was always a main theme for him in his films. No one pushed him to go away from Sweden, it was his free choice.

KOUGUELL:  In Searching for Ingmar Bergman, there were fascinating revelations when you visited the places of his childhood combined with the analysis of his films, and how he and his work connected with spirituality and faith, and his father who was a priest.

VON TROTTA: Before I made this documentary, I was interested in Bergman’s films as a filmmaker. I wasn’t curious about his life and his women, for me it was just about how he made his films. Then knowing that I was going to make this documentary, I read his autobiography “The Magic Lantern” and there I discovered the main points of his life. I discovered about his nurturing in his childhood.  He wrote so much more about his childhood, his mother, his father, his grandmother, and much less about his wives and his children. I had the feeling he wanted to stay as a child, during his whole life.

Film Director Ingmar Bergman together with wife Kabi Laretei and son Daniel. Picture from the book “Lennart Nilsson – his best pictures”.

KOUGUELL: We see that very poignantly when you interviewed his son.

VON TROTTA: Yes, and he said, exactly that was it. When Bergman’s last wife died, he wrote in his autobiography: ‘Finally I have to go out of my children’s room, out of my playroom.” His wife also helped him stay (as) a child; she did everything for him.

KOUGUELL: Looking back at the journey of making this documentary, did it influence you as a filmmaker?

VON TROTTA: Influence? I don’t know, I’ll have to see in the films I will do. The main things which are influences you don’t even feel it at the time, it comes out when you are doing a film.  I like it when it stays unconscious, that you get influences unconsciously, take them in and they come out without knowing that you have it as a treasure.

Susan Kouguell Interviews Documentary Director of “Monrovia, Indiana” Frederick Wiseman

November 18, 2018 / / Comments Off on Susan Kouguell Interviews Documentary Director of “Monrovia, Indiana” Frederick Wiseman

INTERVIEW: Director of Monrovia, Indiana, Frederick Wiseman

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Recently, I had the honor of interviewing documentary director Frederick Wiseman at Manhattan’s Film Forum the day before his new film Monrovia, Indiana was beginning its run at the same venue.

ABOUT FREDERICK WISEMAN

Since 1967, Frederick Wiseman has directed 42 documentaries—dramatic, narrative films that seek to portray ordinary human experience in a wide variety of contemporary social institutions. His films include TITICUT FOLLIES, HIGH SCHOOL, WELFARE, JUVENILE COURT, BOXING GYM, LA DANSE, BALLET, CENTRAL PARK, BALLET, LA COMEDIE FRANCAISE, BELFAST, MAINE, and EX LIBRIS—The New York Public Library. He has directed a fiction film, THE LAST LETTER (2002). His films are distributed in theatres and broadcast on television in many countries.

Frederick Wiseman received his BA from Williams College in 1951 and his LLB from Yale Law School in 1954. He has received honorary doctorates from Bowdoin College, Princeton University, and Williams College, among others. He is a MacArthur Fellow, a Fellow of the American Academy of Arts and Sciences, an Honorary Member of the American Academy of Arts and Letters, and a recipient of a Guggenheim Fellowship. He has won numerous awards, including four Emmys. He is also the recipient of the Career Achievement Award from the Los Angeles Film Society (2013), the George Polk Career Award (2006), the American Society of Cinematographers Distinguished Achievement Award (2006) and the Golden Lion for Lifetime Achievement from the Venice Film Festival (2014). In 2016, he received an Honorary Award from the Board of Governors of the American Academy of Motion Picture Arts and Sciences. He was a Charles Eliot Norton Professor of Poetry at Harvard University in 2018.

ABOUT THE DOCUMENTARY MONROVIA, INDIANA

Founded in 1834, Monrovia, Indiana (pop: 1063) is a small farming community that might be passed over en route to larger cities like Indianapolis or Fort Wayne. Yet 46 million Americans live in rural towns like Monrovia, once the backbone of American life. In his 44th film, master documentary filmmaker Frederick Wiseman trains his legendary camera on the town, exploring its conflicting stereotypes and illustrating how values like community service, duty, spiritual life, and generosity are lived—Christian sermons, a freemason ceremony, industrial agricultural work, a town council ruling on expanded development, and gun-shop talk. All punctuated by cinematographer John Davey’s stunning, big-sky Midwestern landscapes. The importance of rural America as a formative center of American politics and values was demonstrated in the 2016 presidential election; MONROVIA, INDIANA provides a window into a way of life that, although central to this country’s history, is often overlooked by city dwellers.

THE INTERVIEW

We began our discussion with Mr. Wiseman’s choice to explore the town of Monrovia in his new documentary.

WISEMAN: I told a friend of mine who is a law professor in Boston that I wanted to make a film in the Midwest about a small town. She had a friend who taught at the Indiana law school, whose family lived in the same small town for six generations. By chance, a couple of weeks after that I had been invited by the University of Indiana in Bloomington to show some of my films. So, I called the Bloomington law professor to say I was interested, and he said, “Come a day early, and I’ll take you to Monrovia.” He introduced me to his cousin who is the town undertaker in the cemetery, an extremely nice woman, and she offered to help by introducing me around.

I looked around Monrovia for about two hours. This was mid-April and I was planning on shooting in May. In the interim, she contacted the people she thought would be important for me to meet, like the head of the school board, the police and fire department, store owners, the vet. And then I called them, and because she made the introductions and I had the ‘Good Housekeeping seal of Approval’ they were very receptive. I had no problem getting access.

KOUGUELL: How long was the shoot?

WISEMAN: About ten weeks.

KOUGUELL: How long did you prepare for it in terms of meeting people?

WISEMAN:  Only the two hours when I was in Monrovia in April. That’s always the case. I don’t like being around a place doing what’s called research and not being able to shoot. In my view, the shooting of the film is the research.

KOUGUELL: What size is your crew?

WISEMAN:  Me and two others. I direct and do the sound. I work with a cameraman, and the third person assists us both. It’s fun. It’s a nice way to work.

KOUGUELL: Did you need to get releases signed from the participants?

WISEMAN: I ask people’s permission. I usually get tape-recorded consents. They’re just as legal as written consents.

KOUGUELL: Have the participants seen the finished film? Were you there for the screening?

WISEMAN: Yes, they seemed to like it. I was there. There were three screenings in one night; I took over a multi-plex.

KOUGUELL: At the end of the film, and without giving anything away to the readers, there are moving and poignant sequences about the passing of one of Monrovia’s residents. How were you able to get the family to agree to being filmed?

WISEMAN: The undertaker asked them. Her company was in charge of the event, so to speak.

KOUGUELL: Much is often made about categorizing your films. Do you consider them Direct Cinema?  Cinema Verité?

WISEMAN: I don’t like any of those words. I don’t know what Direct Cinema means. Fly on the Wall is obnoxious; I think I’m more conscious than a fly. Observational Cinema is too passive; as if somehow you sit in a corner and let things happen in front of the camera when a movie is made up of thousands, if not hundreds of thousands of decisions. I like to call them movies. A simple, old-fashioned word.

KOUGUELL: You said that the themes and POV emerge at the end of the editing process.

WISEMAN: I don’t start a movie with a thesis in mind because I think that would be too limiting. I like the movie, in one sense, to be a report on what I learned as a consequence of making the movie within the context of it being a dramatic narrative. If I start the movie with a specific idea, then it’s like a horse with blinders, you’re not seeing other things.

I don’t know anything about these places before I start. I really learn about it in the editing. I have to review the rushes, decide which sequences I want to use, how I’m going to edit, and order them. That requires a careful analysis, a reading of each sequence. I have to think that I understand what’s going on in each sequence in order to decide whether I want to use it, how I’m going to edit it, and where I’m going to place it.

KOUGUELL: You mentioned that for this film you shot between 100 and 120 hours of footage. Let’s talk about your editing process.

WISEMAN: I like editing. During the shoot, we send back a hard drive to an assistant in Boston. She would categorize it, for example, all the shots in the supermarket, farmers, and then write a one-line description of each shot, and make sure that the sync was okay. Then when I come back from the shooting, I start looking at the material. That takes me 6-8 weeks; this first pass. At the end of that, I put aside about 50 percent of the material, and then I start editing from the other 50 percent of those sequences that I think will make it into the final film. That takes me 6-8 months. Then when the candidate sequences are edited, I do the first assembly in 3-4 days. That’s my first attempt at structure, which is usually about 30-40 minutes longer than the final film. Then, over the next 6-8 weeks, I work on the rhythm of the film, and make sure I have a dramatic narrative that works. I work on the internal rhythm of a sequence, and the transitions between the sequences. When that’s done, I look at all the rushes again to see if there is anything else that will be useful to include.

A good part of editing doesn’t have to do with the physical manipulation of the material, it has to do with what the material says to me. The conversation between me and the rushes.

KOUGUELL: A distinctive aspect of your work is the lack of voice-over narration and interviews, or reflexive (revealing to the viewer some part of the filmmaking process) elements.

WISEMAN: Right, you don’t physically see me but every aspect of the film, you see me because you see the choices I made.

KOUGUELL: What appeals to you with this style of filmmaking?

WISEMAN: The way I make movies is more novelistic than it is journalistic. I make the argument that my films are fiction films because, for example, reducing a sequence from an hour-and-a-half to seven minutes, and it’s never seven consecutive minutes, it’s 20 seconds here, 40 seconds there, and edited like you’re watching it in sequence. It’s fictional in a sense that the camera is looking at the people in a different way than the eye.

To learn more about Wiseman’s work and upcoming events visit Website.

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