Su-City Pictures East, LLC

Screenplay & Film Consulting By Susan Kouguell

Author: sucity (page 17 of 33)

Ageism, Disappearance, and Blurred Lines in Clouds of Sils Maria (SCRIPT MAGAZINE)

March 17, 2015 / / Comments Off on Ageism, Disappearance, and Blurred Lines in Clouds of Sils Maria (SCRIPT MAGAZINE)

Click to tweet this article to your friends and followers!

Ageism, Disappearance, and Blurred Lines in Clouds of Sils Maria

by Susan Kouguell

MARIA ENDERS
I’m sick of hanging from wires
in front of green screens.

The lines between reality and fiction are blurred and layered in Olivier Assayas’ Clouds of Sils Maria, a character study about ageism and mortality.

clouds-of-sils-maria.png (1001×583)

At the peak of her international career, Maria Enders is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself. (Synopsis courtesy of Cannes Film Festival)

Now in her 40s, Maria Enders, who has been asked to play the part of Helena on the London stage, finds herself conflicted; she is both terrified and intrigued by the role because it will force her to confront ageism and mortality — the latter underscored by the fact that the actor who originally played Helena died in a car accident.

Maria Enders is very much aware that if she chooses to play the Helena role she might just be tempting fate, as well as her own downfall.

Here we are presented with the question that propels the narrative forward: Despite the various obstacles thrown in her path throughout the film, will Maria Enders play the Helena role on the London stage?

Once Maria accepts the Helena role, she continues to be conflicted by her choice. The narrative stakes rise as Maria prepares the role of Helena with her assistant, Val, who is running lines of the vital young upstart in the play. Their lines literally become blurred: Are they acting lines from the play or is this real life? Taking this idea one step further, life imitates art and art imitates life, when a satirical nod is made to the “real life” dramas (marital infidelities, intrusive paparazzi, and more) these real-life actresses have faced.

Thematically, this film draws some inevitable comparisons to Joseph L. Mankiewicz’s All About Eve; the psychological and emotional toll and consequences of aging on a successful actress are examined. In All About Eve antagonist Eve Harrington insinuates and schemes her way into the life of Broadway star, Margo Channing (the protagonist) and will stop at nothing to achieve her goal — to become a bigger star than Margo. Introducing herself to Margo as her biggest fan, Eve’s manipulation of Margo’s vanity is calculated; she is duplicitous and has an agenda, and plays on Margo’s fear of getting old. Margo Channing’s biggest vulnerability is age; an aging actress with a younger lover. In Clouds of Sils Maria, Joann Ellis is coy and savvy, and she flatters Maria Enders not so unlike the unscrupulous Eve Harrington. Both Margo Channing and Maria Enders briefly fall into their opponents’ traps, and each discovers that the next generation of stars is ready and armed to take their places. Time marches on with or without them.

Margo expresses her doubts about her age to playwright Lloyd, regarding playing the lead character of Cora, a young ‘twenty-ish’ woman, in his new play:

MARGO CHANNING
Lloyd, I am not twenty-ish. I am not thirty-ish.
Three months ago, I was forty years old. Forty.
Four oh – That slipped out. I hadn’t quite made
up my mind to admit it. Now I suddenly feel as
if I’ve taken all my clothes off.

The characters of Maria Enders and Margo Channing are two actresses who will not quietly fade away into actor oblivion. Yet ironically in Act 3, there is one character in Clouds of Sils Maria who does fade away and disappears, never to be seen, heard, or referred to again – – perhaps reinforcing another them of this film — loss. As one character in Clouds of Sils Maria states: “The text is like an object. It’s gonna change perspective based on where you’re standing.”

– See more at:

Clouds Sils Maria

Gimmicks, Ground Rules, and Gender in ’52 Tuesdays’ (SCRIPT MAGAZINE)

March 9, 2015 / / Comments Off on Gimmicks, Ground Rules, and Gender in ’52 Tuesdays’ (SCRIPT MAGAZINE)

Click to tweet this article to your friends and followers!

Gimmicks, Ground Rules, and Gender in ’52 Tuesdays’

By Susan Kouguell

When James’s lover asks James: “Do you wish you were born a man?” James replies: “I wouldn’t have Billie.” And then soon James adds: “Yes.”

52 Tuesdays

The Australian independent feature 52 Tuesdays captures a year in the life of 16-year-old Billie, whose reluctant path to independence is accelerated when her mother reveals plans for gender transition.

Sophie Hyde, winner of the Best Director, World Cinema Dramatic for 52 Tuesdays at the 2014 Sundance Film Festival, and her co-writer Matthew Cormack, set out with specific ground rules to develop this film. They created the structured rules first and then decided on the story and characters.

In a Skype interview, Sophie Hyde explained: “We started with the idea of two people meeting every Tuesday for a year. The ideas came from that.”

The rules: They would shoot every Tuesday until midnight for 52 consecutive weeks. An entire nonprofessional cast, the actors were given the script one week at a time, and only the scenes they appeared in.

Interspersed with the narrative are two-second long news clips of various world events from protest demonstrations to Julian Assange. Sophie Hyde explains the decision to incorporate the clips, which separate the various Tuesdays that are labeled by dates: “With all the emotional change that occurs in the characters’ lives, and all the things that happen, it reminds us that the world still goes on. It is about the promise of change.”

There are the inevitable comparisons between 52 Tuesdays and writer/director Richard Linklater’s Boyhood, which was shot one week every year for twelve years. Both films not only share themes of transformations, coming-of-age and parent/child relationships, but each used a gimmick — in the case of these two films, the decision to set rules for shooting to convey the narratives. The Boyhood structure revisits the characters yearly for twelve years, the 52 Tuesdays structure revisits the characters weekly for one year.

Whether viewers and critics feel this specific gimmick works in either or both of these films continues to be up for debate. The question screenwriters must ask themselves when considering using this type or other types of gimmicks is this: Is it necessary to use the gimmick to tell the story you want to tell? Would it work without it?

The initial gimmick of Hyde and Cormack’s idea takes it a step further and relates it directly to the plot, applying it to boundaries set by James as to the days and times (Tuesdays after school) Billie and James can meet and for how long.  Billie reluctantly agrees to these terms, and moves in with her father.

Billie and James embark on their respective personal journeys, recording their experiences of change in video journals. These videos may at first seem like another gimmick, but they effectively add another layer of conflict while advancing the narrative.

Film executives want to discover original plot ideas and distinct visions; they don’t want to read gimmicks that don’t serve the plot. Screenwriters should not rely on gimmicks — there must be compelling characters and a solid plot otherwise industry folks will stamp REJECT on the screenplay.

To learn more about the film here.

READ MORE:

52 TUESDAYS

Buzzard: Potrykus interview at Locarno

March 6, 2015 / / Comments Off on Buzzard: Potrykus interview at Locarno

Opening today in New York City: Buzzard

Here’s my interview with Joel Potrykus, Writer, Director, Editor and co-star of “Buzzard” from the 2014 Locarno Film Festival for IndieWIRE/SydneysBuzz. (Originally posted in August 2014.)

Returning to the Locarno International Film Festival after winning for Best New Director in 2012 for his feature “Ape,” Joel Potrykus and his Sob Noisse collaborators are receiving quite the buzz in the American independent film scene. I met with Joel Potrykus during the Festival to talk about his films and “Buzzard.”

Joel Potrykus, Writer, Director, Editor and co-star of “Buzzard”, and Producer Ashley Young

Joel Potrykus and Producer Ashley Young

READ MORE HERE:

INTERVIEW

IDA: THE SEARCH FOR IDENTITY

February 26, 2015 / / Comments Off on IDA: THE SEARCH FOR IDENTITY

IDA: The Search for Identity
and Creating Captivating Characters

by Susan Kouguell
WANDA
“You’re Jewish.”

These few words are revelatory in the Oscar-winning Ida, written and directed by Pawel Pawlikowski.   

The setting; 1962 post-Stalin Poland.

A few days from taking her vows at the convent where she was raised, Anna, a naive orphan and young novice, learns the existence of Wanda — her aunt. A former state prosecutor, the cynical Wanda is part of the Communist elite.  

These two women are distinct characters . Wanda drinks heavily, chain-smokes, and has one-night stands.  Indeed, she is the opposite of her niece; worldly versus sheltered, atheist versus believer.  

Wanda reveals key secrets from Anna’s past: Anna’s birth name is not Anna but Ida, and her true religious identity is that she is Jewish.  This revelation  advances the narrative forward, prompting Wanda and Ida to venture together on a journey to discover what happened to Ida’s parents during the Nazi occupation.

Characters’ specific journeys — their experiences as they attempt to achieve their goals and what they learn about themselves and others—are the basis of defining a screenplay’s themes.  The theme is what your story is about; it is the central idea or dominant subject matter that reoccurs throughout your screenplay. Examples of themes include redemption, survival, empowerment, alienation, and triumph over adversity.   In Ida, the two central themes are identity and secrets of the past.

 

 

READ MORE

A Look at the Western Genre: ‘The Salvation’ and ‘Unforgiven’ (SCRIPT MAGAZINE)

February 24, 2015 / / Comments Off on A Look at the Western Genre: ‘The Salvation’ and ‘Unforgiven’ (SCRIPT MAGAZINE)

A Look at the Western Genre: The Salvation and Unforgiven

Click to tweet this article to your friends and followers!

Film industry executives have expectations. The most obvious expectation is to discover a brilliantly written screenplay that can be made into a film that will garner lots of attention and yes, lots of money at the box office. Executives also expect, if not demand, an engaging, plausible screenplay that follows the rules of the writing genres. Understanding genre conventions (characters, settings, events) and applying this knowledge to your script, will help you to sharpen your plot and characters, and deliver on the readers’ expectations.

Let’s take a look at one of the classic genre — the Western.

From my book Savvy Characters Sell Screenplays:

Western Ride ‘em, cowboy…or cowgirl! Whether your protagonist is faced with violence, robberies, shootouts or stampedes, typical Western heroes are courageous, tough, self-sufficient, honorable, independent, and/or moral with an expertise in physical skills and abilities that will enable him or her to survive. Generally, the settings for westerns are the American frontier with sweeping landscapes, rugged terrain, and ranches or the small town streets containing the local bank, general store, barbershop, and saloon. Themes include revenge, lost love, greed,man versus man, good versus evil, man versus nature, law enforcers versus criminals, and new settlers versus homesteaders. Research the iconic symbols of the time period in which you set your story. From lassos, to cattle drives, to sheriffs and their sidekicks, you must be historically accurate.

western genre

A Look at Two Westerns

In the 2014 film The Salvation, written by Anders Thomas Jensen and Kristian Levring, director Kristian Levring pays tribute to the classic western. Inspired by Nordic sagas, The Salvation, is set in the American west of the 1870s. John, an ex-soldier and Danish settler, kills his family’s murderer, unleashing the fury of notorious gang leader Delarue. Betrayed by his corrupt and cowardly community, the peaceful pioneer turns vengeful hunter. John slays the outlaws, as he attempts to cleanse the town’s black heart.

Director Clint Eastwood’s 1992 Unforgiven (screenplay by David Peoples) is also set in the American west of the 1880s. In this film, a local prostitute in the small town of Big Whiskey is brutally attacked by two cowboys. When antagonistSheriff Little Bill Daggett lets them off with the condition they give some ponies to the saloonkeeper, the outraged prostitutes pool their money and offer a $1,000 bounty to murder the cowboys. A young man, known as the Schofield Kid, goes to the home of William Munny, an aging former outlaw, to convince him to team up with him to win the reward. Having sworn off his violent past, Munny first turns down the offer but changes his mind.

Both The Salvation and Unforgiven share not only the settings of the American west of the 1880s and themes of greed and revenge, the protagonists are vengeful heroes and the antagonists are ruthless. Protagonists must make key decisions that will propel the narrative forward and shape your plot. The steps leading up to Unforgiven’s Munny making the significant decision to join The Schofield Kid, by going back on his pledge to his late wife that he will never again pick up a gun, advances the narrative, and continues to build as he must face antagonist Sheriff Dagget . In The Salvation, the steps leading John to change from peaceful pioneer to a man seeking justice for his family’s murder are underscored by his unwavering stance against Delarue. Antagonists Dagget and Delarue are the villains whose objective is to prevent the protagonists from achieving their goal.

Following the conventions of a genre is imperative when writing a savvy screenplay. Watching films and reading scriptsin the genre in which you are working will help to guide you to deliver on film executives’ expectations.

 

READ MORE

‘Ballet 422′ and Cinema Truth (SCRIPT MAGAZINE)

February 11, 2015 / / Comments Off on ‘Ballet 422′ and Cinema Truth (SCRIPT MAGAZINE)

by Susan Kouguell

Click to tweet this article to your friends and followers!

‘Ballet 422′ and Cinema Truth

The truth about documentary is this — there are many categories and styles — from investigative to personality-driven, to topics that expose cover-ups and catastrophes, to — well, yes – the list goes on and your imagination is the limit.

Many film theoreticians and documentarians differ on their interpretations over what elements should or should not be included when categorizing the various styles of documentary films, but what they do agree upon is this — there are no strict rules one must adhere to when making documentaries.   And so, one can say there is often an exception to every “rule” when labeling and categorizing the various styles of documentaries.

So, if one truth is that there are no hard and fast rules in making documentaries, how does the writer know how to write a documentary?

In writing and/or sketching out the ideas for a documentary you can present ideas objectively, subjectively, or let the subject and/or subject matter speak for themselves/itself. You can follow the traditional 3-act structure or a non-traditional narrative format, or use talking heads, stock footage, dramatic reenactments, voiceover narration, still photographs, live action, animation, put yourself in the story or just allow images and your subjects to convey the story. You can use some or all of these choices, or create something else. The choice is up to you.

large_ballet422_web_2

Choosing Cinema Vérité: Ballet 422 and Cinema Truth

Director Jody Lee Lipes describes his new documentary Ballet 422 as Cinema Vérité. Translated from the French, this term defined as “cinema truth,” is also referred to as Fly on the Wall or Direct Cinema. The “truth” is underscored in this definition; the filmmaker captures what is happening in front of the camera without artifice.

Some of the elements that are seen in Cinema Vérité include the use of handheld cameras, natural lighting, direct sound, and location filming — while elements not generally seen are the utilization of voice-over narrations, talking heads and extensive background information. Examples of this filmmaking category are the 1973 PBS series An American Family, which followed the daily lives of the Loud family for seven months and Grey Gardens (1975) directed by Albert and David Maysles, Ellen Hovde and Muffie Meyer, about a mother and daughter reclusive socialites, living in a decrepit Long Island mansion.

From first rehearsal to world premiere, Ballet 422 goes behind the scenes at the New York City Ballet, as it follows Justin Peck, 25, a dancer with the NYCB and up-and-coming choreographer, as he creates his new work “Paz de la Jolla” from its first rehearsal to world premiere. This commissioned ballet is NYCB’s 422nd new ballet — hence the film’s title.

Justin Peck is the main character and the film takes the viewer on his journey, offering glimpses into the ballet world and Peck’s work process as he collaborates with fellow dancers, orchestra musicians, lighting and costume designers.

In Ballet 422, there are no re-enactments, voiceovers, or talking heads — there are only a few lines of superimposed text that offer only brief background information about choreographer Peck, who shows minimal emotion throughout the film. Peck is focused, confident, and demonstrates only glimpses of nervousness as the premiere date approaches.

A vital element of cinema vérité is spontaneity. The director is the observer, witnessing the action without interfering in it or controlling it. Portable equipment (handheld cameras, and so on) allows the cameraperson and sound recorder to go to the subjects rather than the subjects going to them. Another cinema vérité element seen in Ballet 422 are several quick moments where there was a boom mic in the shot, or a mirror reflection of a camera person filming the dancers.

Director Jody Lee Lipes and Producer Anna Rose Holmer at the Emelin Theatre in Mamaroneck, New York discuss the Writing Process and Influences

Producer Anna Rose Holmer: “The film’s influence is Studs Terkel’s Working: People Talk About What They Do All Day and How They Feel About What They Do. When you focus on people, you learn a lot about what makes them tick. The drama is there. There were no tantrums. The quiet storm was happening.

Director Jody Lee Lipes: “Letting people in the film dictate it is better than what you can write. We sketched out ideas of the story arc. The biggest change was in the end when we learned that Justin was dancing in another piece the same night of his premiere. The writing process happened in the editing room. One of the storytelling devices the editor and I used to make it feel move forward was to build on each rehearsal — we see Justin alone, Justin with one dancer, then the whole corps, and then the entire cast. The first time we see Albert (ballet master) and Justin walking on stage, because of that progression of scenes, we know we’re getting closer to the premiere of the ballet.”

There is not the expected or anticipated drama or melodrama of a behind-the-scenes glimpse into the New York ballet world.

Lipes: “Justin, the subject, doesn’t change with the camera on him. That is the real Justin. This is why I made the movie; I love watching someone really focused on what they’re doing.”

Your Next Steps

Watch documentaries that share your aesthetic, ideas, and sensibility, and then note down what makes your project different. As you develop and sketch out your ideas think about who your main characters are, their goals, desires, and agendas, and what your significant message is.

You can leave everything to chance or adhere strictly to your script. The choices are up to you. Your mantra to keep in mind when writing and sketching out your ideas for a documentary? Truth is stranger than fiction.

 

– See more at: READ MORE HERE

 

“Tips on Writing Dialogue That’s Truthful” (SCRIPT MAGAZINE)

January 27, 2015 / / Comments Off on “Tips on Writing Dialogue That’s Truthful” (SCRIPT MAGAZINE)

Tips on Writing Dialogue That’s Truthful

Click to tweet this article to your friends and followers!writing-dialogue

 

TABITHA
(to Riggan. A derisive laugh)
You’re no actor. You’re a celebrity. Let’s be clear on that.

Tabitha rises from her seat and grabs her things.

TABITHA (CONT’D)
I’m going to kill your play.

In Birdman, (directed by Alejandro González Iñárritu, screenplay by Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris Jr. and Armando Bo) theatre critic Tabitha is despicable. She knows it. Protagonist Riggin knows it. And what makes matters worse is that in these four lines, Riggan knows in his very soul that Tabitha is telling the truth. The truth hurts. Riggin is struggling with his celebrity and all that comes with this label. He wants to be respected as an actor, not for his celebrity. The words flowing from your characters’ mouths should be true to who they are. Whether your characters are telling the truth or lying, or believe they are being accurate or not, when you, the screenwriter, have a deep understanding of your characters’ motivations and behaviors, the more believable your dialogue will be. Good dialogue clearly conveys emotions, attitudes, strengths, vulnerabilities, and so on, while revealing the details of your plot and advancing your narrative.

Ten Top Tips to Writing Truthful Dialogue

  1. Make every word of dialogue count. Often less is more and the less said can be more poignant.
  2. Readers should be able to identify who is speaking without needing to read each character heading. Characters’ voices must be distinctive and not interchangeable with other characters.
  3. Consider the silences and pauses your characters use, or another character’s interruptions, to further convey tensions, actions, moods, and emotions.
  4. How your characters listen or don’t listen to each other and respond or don’t respond to each other will enhance your dialogue.
  5. Dialogue must not sound wooden or stilted. In real life, most people do not always speak with flawless grammar in complete, formal sentences.
  6. Use contractions, colloquialisms, slang, and so on, when true to your characters.
  7. Characters can speak in verbal shorthand and finish each other’s sentences and thoughts, such as with family members and best friends.
  8. Watch out for on-the-nose dialogue. In real life, people don’t always say exactly what’s on their mind or say what they mean and neither should your characters.
  9. Do your research. If your character is discussing medical issues, for example, or if you’re writing a period film, accuracy is essential.
  10. Writing character biographies for all of your characters will not only enable you to learn more about who they are and what makes them tick, it will help you to determine their specific word choices and language usages, such as slang, speech patterns, and rhythms.

 

READ MORE HERE

 

SUSAN’S (Screenwriter’s Utopia) TOP TIPS ON CHOOSING AN AGENT

January 26, 2015 / / Comments Off on SUSAN’S (Screenwriter’s Utopia) TOP TIPS ON CHOOSING AN AGENT

 

 

Many screenwriters share something in common.  Is it the agony and ecstasy of writing?  Well, for some yes, but for most –it’s about finding an agent, and when you do, finding the right one for you.

Indeed — finding an agent can be considered a full-time job. Not only have you written a brilliant screenplay but now you must write and submit queries, network and then network some more, and research agencies and agents that are the right match for you and your work.  Added to that is the endless time involved and sleepless nights, waiting for a response.  This journey can be challenging, often frustrating, nearly impossible, clearly nerve-wracking and nauseatingly gut-wrenching.

But then – alas.  You get the call. The email.  The response. An agent is interested in representing you!  Hallelujah. Congratulations! Break out the champagne.  Do the happy dance.  But don’t lose your common sense!

Yes, it’s wonderful that an agent has expressed interest in representing you, but do not jump into a relationship without making sure the agent is a good fit for you and your work.

Tips on Choosing an Agent

Read more:

CHOOSING AN AGENT

 

Susan’s: Love is Strange – Obstacles and Relationships, and Not So Strange Love

January 24, 2015 / / Comments Off on Susan’s: Love is Strange – Obstacles and Relationships, and Not So Strange Love

Love is Strange

Obstacles and Relationships, and Not So Strange Love

love is strange

 

In film, as in real life, misunderstandings and embarrassing and awkward moments are just some of the many situations couples can find themselves in when it comes to love relationships. Couples can be soulmates or polar opposites, come from the same or different backgrounds and/or social classes, have too different or too similar temperaments, and/or find themselves brought together by an odd set of circumstances without which they would not have normally even spoken.

The obstacles a couple must face can bring them together or force them apart.

In the award-winning film directed by Ira Sachs Love is Strange, co-written by Ira Sachs and Mauricio Zacharias, the obstacles longtime couple Ben and George enounter drive the narrative forward, posing the question:

How will Ben and George overcome their many hurdles in order to live together once again?

To read more:

LOVE IS STRANGE

 

 

 

2015 NEW YORK FILM CRITICS CIRCLE AWARDS

January 7, 2015 / / Comments Off on 2015 NEW YORK FILM CRITICS CIRCLE AWARDS

Great to see old friends and colleagues at the NYFCC Awards.

A few photos from last night…

Photo credits: Tatiana Kouguell-Hoell

2015-01-05 06.45.25

MARION COTILLARD

2015-01-05 07.05.56

Timothy Spall

2015-01-05 07.11.34

Ethan Hawke

2015-01-05 07.12.16

Richard Linklater

2015-01-05 07.19.06

Jon Stewart

 

2015-01-05 06.10.09

Patricia Arquette

2015-01-05 06.27.39

J.K. Simmons

2015-01-05 06.20.15

Bill Murray

2015-01-05 05.54.13

Nick Offerman

2015-01-05 06.08.07

Ellar Coltrane

 

2014 Awards (From: http://www.nyfcc.com/awards/)

Best Picture
Boyhood
Best Director
Richard Linklater
Boyhood
Best Screenplay
The Grand Budapest Hotel
Best Actress
Marion Cotillard
The Immigrant, Two Days, One Night
Best Actor
Timothy Spall
Mr. Turner
Best Supporting Actress
Patricia Arquette
Boyhood
Best Supporting Actor
J.K. Simmons
Whiplash
Best Cinematographer
Darius Khondji
The Immigrant
Best Animated Film
The LEGO Movie
Best Non-Fiction Film (Documentary)
Citizenfour
Best Foreign Film
Ida
Best First Film
Jennifer Kent
The Babadook
Special Award
Adrienne Mancia

 

« Older posts Newer posts »

Recent Posts

Search

Categories

© 2024 Su-City Pictures East, LLC

Theme by Anders Noren — Up ↑