Su-City Pictures East, LLC

Screenplay & Film Consulting By Susan Kouguell

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Conversation with Gerwig and Baumbauch – MISTRESS AMERICA

August 19, 2015 / / Comments Off on Conversation with Gerwig and Baumbauch – MISTRESS AMERICA

A Conversation with Greta Gerwig and Noah Baumbauch at the Film Society of Lincoln Center

By Susan Kouguell | www.su-city-pictures.comAugust 19, 2015 at 1:00PM

Following the screening of their new film “Mistress America,” writer and director Noah Baumbach and writer and producer Gerta Gerwig, shared a lively and insightful discussion.
Gerta Gerwig and Noah Baumbach
Gerta Gerwig and Noah Baumbach

Following the screening of their new film “Mistress America,” writer and director Noah Baumbach and writer and producer Greta Gerwig, shared a lively and insightful discussion about their collaborations, writing, “Frances Ha” (in which Gerwig played the titular character), and her new starring role.

Tracy, a lonely college freshman in New York, is having neither the exciting university experience nor the glamorous metropolitan lifestyle she envisioned. But when she is taken in by her soon-to-be stepsister, Brooke—a resident of Times Square and adventurous gal about town—she is rescued from her disappointment and seduced by Brooke’s alluringly mad schemes.

About Gerwig’s roles as Frances in “Frances Ha” and Brooke in “Mistress America”

Gerwig: Frances and Brooke share a type of madness. Frances literally stumbled at times. She had this running, loping, falling pace to her. Her fits and starts of conversation, and her flashes of confidence and then going back in. And, Brooke, the way we dressed her, was not really of this time — like a misguided businesswoman with little heels, her little boots, and her pants were too short. She stomped around, and would keep stomping. She had no real shame register.

Baumbach: Brooke was someone we recognized. Aspects of Brooke are familiar to us. She felt like someone out of the movies. Brooke is in some ways all performance. Brooke is a movie. The movie is going on for her. That felt intuitively right.

Gerwig: With Brooke’s character introduction “Welcome to the Great White Way,” she starts this gesture that she realizes halfway down the stairs was not big enough to cover the whole stairs and has to keep going. She doesn’t have a moment of “What have I done?” She just keeps going. She’s kind of a hair flipper the way she speaks.

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Susan’s Writing the Family Film

August 3, 2015 / / Comments Off on Susan’s Writing the Family Film

Writing the Family Film
4-week online course starts August 6

This workshop will guide you through the structural and thematic elements common among the most successful family films of all time.  By the end of this workshop, you will have a complete treatment for your feature-length family film and  all the tools you need to see your project to the end.

READ MORE AND REGISTER HERE

CHARACTER BIOGRAPHY TIPS (SCRIPT MAGAZINE)

July 28, 2015 / / Comments Off on CHARACTER BIOGRAPHY TIPS (SCRIPT MAGAZINE)

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10 Tips for Successful Character Biographies

by Susan Kouguell

Who are these people? What do they want? What do they need?

Why do they exist in this story? Why should I care? What time’s lunch?

These are just some of the questions film executives are pondering as they read your script. The latter question – about lunch – is equally important. Why? Because if they’re thinking about something other than your script then it’s time to think more about your characters.

Readers demand a strong understanding of who your characters are. They want your characters to ring true. They want to know why your characters are taking the actions they do in your screenplay. They want to find that winning script. But if you don’t fully develop your characters you increase your chances exponentially of having your script rejected.

Successful characters are multi-dimensional with distinctive physical attributes, emotional traits, appearances, personalities, intelligence, vulnerabilities, emotions, attitudes, idiosyncrasies, and hopes and dreams. Writing successful characters also means digging deep into their past and present.

There are several ways in which to delve into characters, such as writing character biographies in the first person – your character’s voice. (I offer various templates and examples in my book Savvy Characters Sell Screenplays!). Use whichever exercise works best for you and your writing style. Whether you’re writing your first draft or nearing your final polish, continue to dig deep into your characters’ minds and souls.

For me, I find that taking the time to write character bios at each major draft of my screenplay, strengthens both my characters and my plot. I always advise my students and Su-City clients to write character bios — and while they try to hide their rolling eyes or deep sighs (I know what they’re thinking…I just want to write my screenplay) — I have to say, once they write the bios there’s always that big AHA moment, and they agree that it was worth it. Their characters are stronger. They’ve gained more insights into their plots. And the result? A better screenplay.

10 Tips for Your Character Biographies

These tips can be used for each of your main characters and for your significant minor characters:

  1. Empathy: What elements make my characters likeable and unlikable?
  2. Character Arcs: How do my characters evolve in the beginning, middle, and end of the script, as they attempt to achieve their goals? What do my characters learn about themselves and others, and what do my characters gain or lose, as the plot unfolds?
  3. Goals: What are my characters’ main goals, and hopes and dreams, and why are these important to my characters? How do my characters plan to achieve these goals?
  4. Obstacles: What are my characters’ roadblocks, problems, and hurdles that they must overcome to achieve their goals?
  5. Multi-dimensional: What are my characters specific emotional, mental, physical, and/or social behaviors, idiosyncrasies and traits? How do my characters see themselves and how do they relate to others?
  6. Motivations: What are the underlying reasons that motivate my characters to make critical and specific decisions?
  7. Flaws: What are my characters’ shortcomings and weaknesses?
  8. Vulnerabilities: What are my characters’ Achilles’ heel?
  9. Attitude: How do my characters really feel about themselves and others?
  10. Characters’ pasts influence their present: What are the events in my characters’ pasts, such as schooling, home life, employment, and/or trauma that have significantly molded them to be the person they are today?

Now, imagine yourself seated with a film executive across a table at a fine restaurant. You are both discussing what to order for lunch. And what are you thinking? The executive loves my script and is paying for this expensive meal. I can order anything I want!

– See more at: http://www.scriptmag.com/features/10-tips-successful-character-biographies#sthash.y1LIV8Pk.dpuf

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Writing the Music Documentary (SCRIPT MAGAZINE)

July 16, 2015 / / Comments Off on Writing the Music Documentary (SCRIPT MAGAZINE)

Tips for Writing the Music Documentary Film

by Susan Kouguell

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In this past year, three very different documentaries, portraying a musical artist have been released: What Happened, Miss Simone? directed by Liz Garbus, Kurt Cobain: Montage of Heck directed by Brett Morgen, and A Poem is a Naked Person directed by Les Blank.

These three musical artists, Nina Simone, Kurt Cobain, and Leon Russell are as diverse as are the ways in which these directors conveyed their respective subjects. While some very broad comparisons can be made in some choices made (for example the use of archival footage in Garbus and Morgen’s films, and the use of concert footage in all three films), the more specific comparisons can be found in the fact that each director has a unique vision and voice.

music documentary
In my book Savvy Characters Sell Screenplays! I write:

Documentaries can be written, using the traditional 3-act structure or in a nontraditional narrative format. The use of stock film footage, “talking heads” (interviewees’ faces discussing the subject matter), voice-over narration, animation, photographs, live action, and so on, are some examples of the tools used to convey the narrative.

Rather than cover every biographical detail of their subjects’ lives, Garbus, Morgen and Blank, allow their subjects to tell their own story through their own words and music, in conventional and nonconventional ways. In Kurt Cobain: Montage of Heck, original animation was produced and incorporated into the film, to illustrate important moments in Cobain’s life, using Cobain’s artwork, photography, journals and family photographs as inspiration.

Garbus allows the late Nina Simone to convey her story, in part, through concert footage shot during the course of her career. These moments show Simone speaking and playing to the audience, revealing both her personal fragility and phenomenal talent as a musician.

The late director Les Blank employs a nontraditional narrative cinema vérité approach of his subject Leon Russell, during a time (the 1970s), and place (rural Oklahoma juxtaposed with a state-of-the-art music studio). Rather than revealing Russell’s biographical background, the film offers glimpses of Russell’s concerts, rehearsals, friends, and neighbors in an abstract collage.

Tips:

  1. Immerse yourself in the music. Research the artist and his or her music in order to gain a complete understanding of your topic.
  2. Keep an open mind to what you might discover as you research and shoot. Some filmmakers begin with one narrative idea for their film, but find that along the way that idea changes, as more material is unearthed either through archival finds or interviews.
  3. As you develop your ideas and your interview questions for your subjects, determine what your significant message is, who the main ‘characters’ are and how they will bring light to your topic.
  4. Listen carefully to your interviewees, they might reveal new information and offer unexpected and exciting insights about your subject matter.
  5. Watch documentaries that share your sensibility to give you inspiration.

What Happened, Miss Simone? directed by Liz Garbus is currently playing in theaters and on Netflix, Kurt Cobain: Montage of Heck is in limited release in theaters, as well as A Poem is a Naked Person.

 

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Me and Earl and the Dying Girl and Tips on Adaptation and Divisive Voice-over Devices (THE SCRIPT LAB)

July 2, 2015 / / Comments Off on Me and Earl and the Dying Girl and Tips on Adaptation and Divisive Voice-over Devices (THE SCRIPT LAB)

Tips on Adaptation and Divisive

Voice-over Devices

 by Susan Kouguell

 

 

Me and Earl and the Dying Girl opens with protagonist Greg’s line:

GREG GAINES (V.O.)
It was the best of times, it was the worst of times…

Greg Gaines is an awkward high school senior whose mother forces him to spend time with Rachel — his classmate with whom he hasn’t spoken to since kindergarten– who was just diagnosed with cancer.

The beginning of Greg and Rachel’s friendship finds Greg standing at the foot of the stairs in Rachel’s house, and Rachel at the top of the stairs.

RACHEL: Look, I don’t want you hanging out with me. I don’t need your stupid pity. It’s fine. You can just go.

GREG: No, no, hey. You got it all wrong. I’m not here ’cause I pity you. I’m actually here just ’cause my mom is making me.

RACHEL: That’s actually worse.

GREG: Yeah, I know.

RACHEL: Look, it’s OK. Honestly, I’m fine. Just go.

GREG: OK. Rachel, just listen to me for a second. My mom is going to turn my life into a living hell if I don’t hang out with you. OK, I can’t overstate how annoying she’s being about this. She’s basically like the Lebron James of nagging. Lebron James plays basketball.

RACHEL: I know who Lebron James is.

GREG: OK.

Greg tries to blend in as anonymously as possible, avoiding deeper relationships as a survival strategy for navigating the social minefield that is teenage life.  He describes his constant companion Earl, with whom he makes short film parodies of classic movies, such as Sockwork Orange and Eyes Wide Butt, as more of a “co-worker” than a childhood best friend.

This coming-of-age film, Me and Earl and the Dying Girl directed by Alfonso Gomez-Rejon, screenplay by Jesse Andrews was adapted by the book of the same title written by Andrew.

Adapting for the Screen

The book Me and Earl and the Dying Girl is just over 300 pages – the film just under two hours.  There are many challenges adapting novels to the screen, including what should stay and what should go.  Generally, one script page equals one minute of screen time, which means that you must focus on the basic plot points of the material, thus often resulting in cutting subplots and characters in order to keep the script less than 120 pages.

 

When writing a screenplay, you don’t have the luxury to get inside your characters’ minds with pages and pages of internal thoughts as you do when writing a novel.  Characters’ motivations, agendas, goals, and so on, must be conveyed in dialogue and through visually storytelling.  Always remember the screenwriting adage: Show Don’t Tell.

Devices

The film Me and Earl and the Dying Girl contains many storytelling devices, that for many film executives, are BIG RED FLAGS. These devices include voice-overs, flashbacks, superimposed titles, such as “Day 7 of Doomed Friendship” and Claymation sequences often featuring a moose.  For many Me and Earl and the Dying Girl’s filmgoers and critics, these devices only enhance the film but for some they deter from it.  Let’s look at some of these devices and how they can and should work, and if they’re working (or not) in your screenplay.

In the following excerpts from my book Savvy Characters Sell Screenplays! I talk about devices found in screenplays:  

Many aspiring screenwriters share something in common with their screenplay characters—they have bad habits or rely on things that highlight their insecurities.  The word “vice” is defined as a bad habit; and many screenwriters’ bad habits—more specifically—their writing weaknesses and insecurities, are underscored when they overuse or mistakenly use screenplay devices.  So, when developing your characters, do not rely on vices to convey essential information, or misuse or overuse them.

VOICE-OVERS

Use voice-overs only to provide information and insight about the story and/or character(s) that you absolutely cannot express in dialogue or in action. Do not convey the same information in voice-over that will soon be revealed in dialogue, visuals, or action. If you choose to use the voice-over device, know that story analysts and film executives will regard this as a red flag—a lazy device—and they will examine each word.

In Me and Earl and the Dying Girl, Greg is a self-conscious and unreliable narrator.  He’s self-effacing and uses irony to his full advantage.  Here he talks about his relationship with Rachel.

GREG (V.O.)

So if this was a touching, romantic story, suddenly our eyes would meet and suddenly we would be making out with the fire of a thousand suns. But this isn’t a touching romantic story.

Translating internal thoughts of a character without overusing voiceovers and other devices can be challenging. One way to see if you are overusing voiceovers is to remove the voiceovers from your script (temporarily) and place them on a separate page and in the order they appear in your script. By reading them on their own it is easier to see what must stay and what must go, and if you’re repeating information that is already stated in dialogue, or is too long, and not advancing the narrative.

The opening of A Tale of Two Cities by Charles Dickens continues:

It was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way- in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

At the end of Me and Earl and the Dying Girl  Greg concludes a montage with:

GREG (V.O.)

It was the best of times, it was the worst of times…it was life.

 

Official Web site:  http://meandearlmovie.com/

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Top Ten Tips for Writing Memorable Minor Characters (SCRIPT MAGAZINE)

June 30, 2015 / / Comments Off on Top Ten Tips for Writing Memorable Minor Characters (SCRIPT MAGAZINE)

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Top Ten Tips for Writing Memorable Minor Characters

by Susan Kouguell

Film industry folks are always looking for compelling and  attention-grabbing protagonists and antagonists in a well-crafted screenplay. That, fellow screenwriters, is not really ground-breaking news, but there is a consistent grievance that echoes the halls of studios and production companies throughout the land. Actually, it’s a consistent complaint. It’s all about those ignored minor characters also known as supporting characters.
The complaints go something like this: “These characters are dull, interchangeable, one-dimensional, predictable, stereotypical…”
What happens next? The screenplay is rejected. The writer is not considered for writing assignments. It’s a sad day in screenplay land.
Supporting characters can and should be memorable. For example: In All About Eve, (written and directed by Joseph L. Mankiewicz) minor character Birdie Coonan helps to propel the narrative forward by expressing her doubts about antagonist Eve Harrington’s intentions to protagonist Margo Channing. Birdie Coonan is memorable because she is also distinct; she’s direct and doesn’t mince words.
In my book Savvy Characters Sell Screenplays! I analyze Betty, a memorable minor character and her arc in Five Easy Pieces directed by Bob Rafelson, screenplay by Adrien Joyce.
In this film, protagonist Bobby Dupea abandoned his promising career as a concert pianist and now works as an oil rigger in the California oil fields. After hearing from his sister that his father is dying, Bobby returns to his wealthy, cultured family’s Washington home where he attempts to reconcile with his father, falls for his brother’s sophisticated wife, and later abandons his brash but well-meaning live-in girlfriend, Rayette.
Betty, a minor character, who appears in only three scenes, advances the narrative by providing subtle insights about Bobby. (This is also an example of the rule of threes. This rule can be applied to a specific action that occurs at three different times during the film or to a character, who appears three times in the film. In the rule of threes, the third time the action or dialogue is seen or heard again, there is a variation from the first two times.)

'Five Easy Pieces'

 

Betty’s First Scene: The Set Up
Betty and her friend, Twinky, meet and flirt with Bobby in the bowling alley where they are playing in an adjacent lane. During Betty and Bobby’s dialogue exchange, Betty reveals that she has taken on a new identity separate from her childhood when she tells him that her real name is Shirley but she is called Betty: (Like Bobby, she has taken on a new identity separate from her childhood.) Although Bobby’s girlfriend, Rayette, is waiting for him outside in their car, Bobby flirts back. Betty’s new identity is a significant clue to Bobby’s character; he is portrayed as a working-class guy, but in fact, his family is wealthy, and was a concert pianist.

Betty’s Second Scene: The Build
Singing and partying with another couple, Betty, bouncing on Bobby’s lap, recounts a childhood incident with her mother, which also foreshadows Bobby’s estranged and complicated relationship with his father. 

Betty’s Third Scene: The Resolution
Betty and Bobby have no dialogue while they have sex. Bobby is seen being unfaithful to Rayette, which shows rather than tells the audience about his character. It also sets up Bobby’s infidelity when he later returns to his family’s home and has an affair with his brother’s wife while Rayette is waiting for him in the motel.

Top Ten Memorable Minor Character Tips

  1. Use minor characters to propel your plot forward.
  2. Minor characters can act as a sounding board, a mirror to the protagonist’s soul, and/or knowingly or unknowingly assist your protagonist in achieving his or her goal.
  3. Minor characters can help advance the protagonist’s storyline forward, reveal information, and/or give additional insight about major characters, including back-story, which will help you to avoid writing exposition.
  4. Use minor characters to assist in creating or reinforcing the mood and tone of your script, and to give color to the world you have created.
  5. Utilize minor characters to further reveal the atmosphere and era of your setting.
  6. Minor characters can bring a different perspective to your story.
  7. Minor characters can prevent your protagonist from running away from a problem or encourage your protagonist not to run away.
  8. Take advantage of your minor characters by having them provide insight into your main characters’ storylines.
  9. Minor characters’ behaviors, attitudes and idiosyncrasies, will help to set the tone of a scene.
  10. Each minor character in your screenplay must serve a purpose, otherwise cut them.

Take the time to develop your minor characters as you do your major characters. Don’t give film industry executives more to complain about!

 

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Top Ten Tips for Creating Winning Characters (SCRIPT MAGAZINE)

June 15, 2015 / / Comments Off on Top Ten Tips for Creating Winning Characters (SCRIPT MAGAZINE)

Top Ten Tips for Creating Winning Characters

By:

 
A successful script must contain compelling characters.  If your characters are not fully developed, your script will most likely be rejected. Your goal is to wow film industry executives! A winning screenplay—one that will set yours apart from the tough competition, is the one in which your attention-grabbing characters sparkle and light up each page.

Here is an excerpt from my book Savvy Characters Sell Screenplays!:

A WINNING SCREENPLAY: STORY = PLOT = CHARACTERS

Story generates plot; it informs what the narrative is about. The plot informs how the story unfolds. And it is your riveting characters who must inform and drive your plot forward.

CHARACTERS = PLOT

Who will live? Who will die? How will they survive?

Who will win? Who will lose? How will they win? How will they lose?

Who will succeed? Who will fail? How will they succeed? How will they fail?

Who will find love? How will they find love?

These aforementioned generic movie taglines, emphasize the significant word “who”— your characters.

To create a believable and compelling plot, your characters must be fleshed out and their distinct characterizations (motivations, behavior, attitudes, and so on), must be gripping and plausible in order to drive the plot forward. When you try to get characters to do what the plot determines, then your characters’ actions, behaviors, and motivations will not be realistic, and they will read as false and contrived.

'Forrest Gump'

Top Ten Tips for Creating Characters

1. EMPATHY: Film industry folks demand characters with whom they can empathize. If they don’t care about your characters, they won’t care about your script and in turn, you have increased your chances of screenplay rejection.

2. GOALS: Convey what your characters’ want and how far they will go to achieve their goals.

3. CONFLICT: Regardless of the genre you are working in and whether your characters are having an inner discord or disputes with others, their conflicts must make sense and must be interesting, in order to raise the stakes in your plot.

4. REASON TO EXIST: Each character must serve a purpose in your script and advance the narrative in some way otherwise you must say “good-bye” and cut this character.

5. UNIQUE: Characters must be unique with distinctive and/or surprising personalities. If they are interchangeable with other characters, then it’s time to rewrite your script.

6. MAKE THEM HUMAN: Unless your characters are nonhuman of course – humanize your characters by giving them identifiable appearances and idiosyncrasies.

7. MOTIVATIONS: Characters must have clear and plausible motivations that give insight into who they are and the actions they take.

8. BEHAVIOR: Whether your characters misbehave or are always on good behavior, your need to convey their specific emotional, mental, physical, and/or social behaviors and traits.

9. ATTITUDE: Characters must have specific attitudes towards each other. Show how your characters view themselves, relate to others or don’t fit in.

10. FLAWS: Characters’ flaws, such as insecurities, make them more identifiable and interesting.

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Yvonne Rainer

June 14, 2015 / / Comments Off on Yvonne Rainer

 

Yvonne Rainer Performance June 14 2015 001Thank you, Yvonne Rainer, for an inspirational evening. at MoMA

I am so grateful to have studied with Yvonne at the Whitney Independent Study Program.   Yvonne made an enormous difference in my life as a writer, filmmaker, and woman artist.   I am so fortunate to have been able to tell her this once again last night.

 

 

Sir Christopher Lee

June 11, 2015 / / Comments Off on Sir Christopher Lee

Remembering Sir Christopher Lee

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Sir Christopher Lee honored at 2013 Locarno International Film Festival

 

 

 

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The opening night of the Festival on August 7 dramatically began under a lightening-filled sky in the Piazza Grande, where Sir Christopher Lee received the Excellence Award Moët & Chandon.  Film stills of Sir Christopher’s roles were projected on the buildings surrounding the Piazza.  Accepting his award, the charismatic Sir Christopher spoke mostly in Italian, stating his mother was from Italy — and then switched to English.

Sir Christopher’s most loved line of the night, “I did it. That was me doing the sword fights with Yoda, not a stunt double.” The audience cheered!

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The Satisfying Scene

June 6, 2015 / / Comments Off on The Satisfying Scene

 

The Satisfying Scene

by Susan Kouguell

Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling.  Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward.  Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.

In my book Savvy Characters Sell Screenplays! I analyze Sleepless in Seattle (directed by Nora Ephron, screenplay by Nora Ephron, David S. Ward, and Jeff Arch).  Here’s an excerpt:

In the romantic comedy, reporter Annie Reed crosses the country to meet a man she has never met after hearing his young son on a call-in radio show, seeking help to find a new wife for his widowed father.

In this scene example we find Annie and Barbara, having a warm mother/daughter talk in the attic.

The Scene Objective:

Annie starts reexamining her feelings about Walter.

Scene Summary:

While trying on her grandmother’s wedding dress, the newly engaged Annie tells her mother, Barbara, about how she and her fiancé, Walter, met. Mother and daughter differ when it comes to believing in destiny, signs, and magic in a relationship—Barbara is a believer while Annie is a pragmatist. The scene concludes as Annie, wearing her grandmother’s wedding dress, hugs her mother and the dress rips. Annie now believes in signs.

The Scene Arc:

In the beginning of the scene, Annie doesn’t believe in destiny and expresses her certainty about her upcoming marriage to Walter. By the end of the scene, Annie is having some subtle doubts when she realizes that she doesn’t have the same type of magic with Walter that her mother felt for her father when they met, and Annie is beginning to believe in destiny.

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About the Author


Susan Kouguell, award-winning screenwriter and filmmaker, is the author of THE SAVVY SCREENWRITER and SAVVY CHARACTERS SELL SCREENPLAYS! A comprehensive guide to crafting winning characters with film analyses and screenwriting exercises (available at $1.00 with DISCOUNT CODE: G22GAZPD: https://www.createspace.com/3558862 ).   Susan is a regular contributor to Indiewire/SydneysBuzz, Script Magazine and The Script Lab.

Kouguell teaches screenwriting at Purchase College, SUNY and presents international seminars. As chairperson of Su-City Pictures East, LLC, a motion picture consulting company founded in 1990, Kouguell works with over 1,000 writers, filmmakers, executives and studios worldwide.  Recipient of many grants and fellowships, including the MacDowell Colony, Jerome Foundation, New York Foundation for the Arts, and the Edward Albee Foundation, Kouguell’s short films are in the Museum of Modern Art’s permanent collection and archives, and were included in the Whitney Museum’s Biennial.  Kouguell worked with director Louis Malle on his film And the Pursuit of Happiness, was a story analyst and story editor for many studios, (Paramount, Viacom, Dustin Hoffman’s Punch Productions), wrote voice-over narrations for (Harvey Weinstein) Miramax and over a dozen feature assignments for independent companies. www.su-city-pictures.com. Follow Susan at Su-City Pictures, LLC Facebook fan page and SKouguell on Twitter, and read more articles on her blog: https://su-city-pictures.com/wpblog/.

 

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