Susan’s TOP TIPS FOR SELLING YOUR SCREENPLAY

October 1, 2014 / sucity / Comments Off

The chances of selling a screenplay are a zillion to one. Maybe a billion to one? A million to one? Or — if you’re lucky, the math is in your favor and the chances are less than that. But yes, the odds are staggering.

The biggest and most important tip I can share with you is this — do not submit your screenplay unless it is absolutely brilliant. Seriously— if your script is not the absolute best it can be then your script will be rejected. Your screenplay is your calling card; it is your audition piece to gain entry into the film business. If you’re having doubts about the strength of your screenplay then it’s not ready to be submitted. Seek professional feedback from a screenplay consultant or industry professional. Keep in mind that if you ask a friend or family member, this person might not have the tools to determine a script’s strengths and weaknesses — and might not tell you the truth because — they don’t want to alienate you! The competition to get a script read by a film industry executive, let alone, having it be considered for production or even sold – are indeed staggering. Keep the odds in your favor.

Now that I’ve gotten the negative, depressing statistics out of the way, let’s look at the positive news. If you think outside of the proverbial box, you increase your chances of selling your screenplay.

Susan’s: Highlights from the Locarno Film Summer Academy Master Class with Award-winning Director Agnès Varda

September 30, 2014 / sucity / Comments Off

Agnes Varda with Stefano Knuchel at the Locarno Film Summer Academy Master Class

Stefano Knuchel, Head of the Locarno Film Summer Academy, invited me to sit in on his master class with the 2014 Locarno International Film Festival’s Pardo d’onore Swisscom winner French film director Agnès Varda.

Known as the Grandmother of the French New Wave (a term with which she takes issue, as I cite in my Conversation with Varda).Varda’s film credits include “La Pointe Courte” (1955), “Cleo from 5 to 7” (Cléo de 5 à 7, 1962), “The Creatures” (Les Créatures 1966), “Lions Love (…and Lies)” (1969), “Documenteur” (1981),”Vagabond“(Sans toit ni loi, 1985), “The Gleaners and I” (Les glaneurs et la glaneuse, 2000) and ” The Beaches of Agnès” (Les Plages d’Agnès, 2008).

Speaking to the group of international students, Varda shared her passion for cinema, photography, and installation work, with humor and honesty. Here are some highlights from Varda’s talk.

I asked Varda about finding inspiration and her writing process

I don’t search for ideas; I find them. They come to me or I have none. I would not sit at a table and think now I have to find ideas. I wait until something disturbs me enough, like a relationship I heard about, and then it becomes so important I have to write the screenplay.

I never wrote with someone else or directed together. I wouldn’t like that. I never worked with (her late husband, director Jacques) Demy. We would show screenplays to each other when we were finished.

When you are a filmmaker, you are a filmmaker all the time. Your mind is recording impressions, moods. You are fed with that. Inspiration is getting connections with the surprises that you see in life. Suddenly it enters in your world and it remains; you have to let it go and work on it. It’s contradictory.

Question from Student: How did you manage to navigate a male-dominated film world?

First, stop saying it’s a male world. It’s true, but it helps not to repeat it. When I started in film, I did a new language of cinema, not as a woman, but as a filmmaker. It is still a male world, as long women are not making the same salary as men.

Put yourself in a situation where you want to make films; whether you are woman or not a woman, give yourself the tools: maybe you intern, maybe you go to school, or read books. Get the tools.

On Filmmaking

We have to capture in film what we don’t know about.

If you don’t have a point-of-view it’s not worth starting to make a film.

Whatever we do in film is searching. If you meet somebody, you establish yourself, who you want to meet, what kind of relationship it is. Our whole life is made up of back and forth, decisions, options — and then they don’t fit.

When one is filming we should be fragile; listen to that something in ourselves. The act of filming for me is so vivid, it includes what you had in mind, and includes what is happening around you at that moment — how you felt, if you have headache, and so on. A film builds itself with what you don’t know.

Life interferes. You have friends. Kids. No kids. Then there is a leak on the wall. Everything interferes. It’s how you build the life with others.

Sometimes I go by myself to do location scouting. When I go by myself, something speaks to me in a place I’ve chosen and I know maybe we should take advantage of that. We have to be working with chance. ‘Chance’ is my assistant director.

Susan’s: Grief and Plot Choices in ‘The Disappearance of Eleanor Rigby: Them’

September 16, 2014 / sucity / Comments Off

The theme of grief prevails in this love story about the once happily married couple Conor (James McAvoy) and Eleanor (Jessica Chastain) in The Disappearance of Eleanor Rigby: Them. The disparate ways in which Conor and Eleanor handle their bereavement after a tragedy is the central conflict of the story; their grief tears them apart and the couple separates. This grief is the catalyst that drives the narrative forward, and it is also the elephant in the room. The tragedy is unspeakable — literally — neither Conor nor Eleanor are able to speak about the death of their young child.

It is never revealed exactly how or when their child died, or if anyone was at fault. This was a deliberate choice writer/director Ned Benson made when developing this story.

Not detailing the when, how or why, in a screenplay can be risky. There are pros and cons to this type of choice; some readers might feel that they have been cheated while others might feel satisfied. The bottom line is this: The risk can be lessened if your characters are well-developed and their motivations for their actions and attitudes towards each other are clear.

Following the screening of The Disappearance of Eleanor Rigby: Them at the Paris Theater in New York City on September 13, there was a Q & A with the two leads, James McAvoy and Jessica Chastain, moderated by film critic Thelma Adams.

I asked Jessica Chastain and James McAvoy about Ned Benson’s choice not to reveal what happened to the couple’s child.

McAvoy: “Benson wanted the film to be about two people healing and carrying on after a tragedy. The film would not be any greater knowing the cause of death.”

Chastain: “I’m grateful Ned Benson didn’t expand upon it. I saw Eleanor as a wounded animal; if the animal is hurt they’re going to bite you. For Eleanor, the only way she can survive is to move forward. Sometimes you just can’t talk about the grief. For her, if she talks about it, she’s back in the water.”

Leaving the question to what happened to their son unanswered, was a thought-provoking decision for writer/director Ned Benson, but a satisfying choice for both Jessica Chastain and James McAvoy, who concluded his response to my question, “Life happens in life.”

Susan’s Conversation with director Victor Erice

September 1, 2014 / sucity / Comments Off

Spanish filmmaker Víctor Erice received the Pardo alla Carriera award at the Locarno Film Festival for his extraordinary contribution to film.

The universal themes of time and memory are found in Victor Erice’s poignant and poetic features and short films. Carlo Chatrian, the Festival’s Artistic Director, comments:

Dir. Víctor Erice

“Erice’s films may be few in number, but are all extremely important in the context of modern cinema, and bear the hallmark of an independent and coherent filmmaker, who is able to give a very personal form to his stories, combining private and collective memory. ”

Born in 1940 in San Sebastian, Victor Erice’s first feature-length film “El Espiritu de la colmena” (The Spirit of the Beehive, 1973), is considered one of the masterpieces of Spanish cinema. In 1983, he directed “El Sur” (The South), which as in his first feature, centers on a father and daughter relationship conveyed through memories. Winner of the Jury Prize at the Cannes Film Festival, Erice’s third feature, the documentary “El sol del membrillo“ (also known as The Quince Tree Sun and Dream of Light) (1992) follows the painter Antonio López and the making of his painting.

Adrian Danks writes in Issue 25, March 2003 Senses of Cinema ( http://sensesofcinema.com/2003/great-directors/erice/#film):

“In “The Quince Tree Sun” we are asked, gently, to contemplate the intense, but here somewhat dissipated, connection and difference between painting and cinema. We watch the painter (Antonio López Garcia, himself a profoundly quotidian painter) attempt to capture the play of light upon the leaves and fruit of a constantly evolving quince tree, while the filmmaker (Erice, one assumes, though he is never directly present in the film) attempts to document the dynamic processes of creating and ‘imagining,’ while simultaneously showing us the painstakingly serene activity of still-life painting. Inevitably, the film can’t capture enough detail and can’t crystallize the painter’s activity into a suitable closing or defining image; while the painting loses the dynamic of light (and life) in the process of committing the tree to the canvas (but it also captures something of it as well). Nevertheless, each, painting and cinema, goes some way toward capturing the essence of its subject. This tension between a medium of movement (and thus time) and stillness or permanence (and thus a different concept of time) preoccupies Erice’s cinema.”

The Conversation

The Conversation took place on 13 August at the Locarno Film Festival. Moderator Miguel Marías and Victor Erice discussed the difference between the viewing audiences of the present and of the past — a shared point of concern that director Agnès Varda also remarked on at her Conversation at the Festival. Both Erice and Varda addressed the fact that viewers (who now have shorter attention spans) don’t watch films as before; films are watched on small screens, laptops, phones, and so on, which changes the film’s aspect ratio and the look of how the film was shot in and in what format, and in turn, the director’s visual intention.

Susan’s: Director Luc Besson talks LUCY and the Protagonist

August 29, 2014 / sucity / Comments Off

The 67° edition of the Locarno International Film Festival opened with Lucy in the outdoor Grande Piazza on August 6 before a standing room crowd. At the Festival, Luc Besson described Lucy as a thriller with action. In my book Savvy Characters Sell Screenplays! I write about how to develop characters in this genre.

In a thriller, your protagonist (often the ‘everyman’) must be in jeopardy and eventually outsmart the antagonist in order to survive. Readers must feel empathy for your protagonist and root for him or her to survive. The suspense must continue to build as your story unfolds with intricate twists and turns. Readers must sense the imminent danger. You must build the audience’s anticipation, uncertainties and questions, and deliver on their expectation—while keeping them guessing.

Lucy is an engaging protagonist because she is identifiable and resourceful, and uses her physical and mental prowess to survive against all odds. She is an unlikely hero.

Besson talked about his films with powerful action female characters, La Femme Nikita, The Fifth Element or The Messenger: The Story of Joan of Arc, stating:

“I think Lucy is different because Nikita, Leeloo and Joan of Arc were very powerful women with skills, whereas Lucy is a totally average girl at the beginning of this story. What was interesting for me about Lucy was to take a character, who represented Miss Average. She could have been me, or she could have been you. She had no particular characteristics. It’s the first time I took someone who is at the bottom of the ladder. She’s stupid in the beginning; she’s a student that maybe is partying too much, and sort of has a boyfriend. She’s away from home.

Modern Times, Metaphor and Visual Storytelling (The Script Lab)

August 26, 2014 / sucity / Comments Off

At the 2014 Locarno International Film Festival, Charlie Chaplin’s Modern Times was shown accompanied by a live orchestra, the Orchestra della Svizzera Italiana. I had not seen the film for many years and was particularly struck by the visual storytelling and the use of metaphor; two points I detail in my book Savvy Characters Sell Screenplays!

Use visual storytelling to establish the setting and mood. Opening with a significant image will also help to grab the reader’s attention. The reader must be able to step into the world that you have created and have a complete understanding of it.

The first four shots of Modern Times:

1) Title card: “Modern Times” A story of industry, of individual enterprise – humanity crusading in the pursuit of happiness”

2) An image of the second hand of a large-faced clock moving forward

3) A herd of sheep rushing forward

4) A mass of rushing workers ascending subway stairs.

In these four shots the audience is informed what the story is about from the opening title card, and the three separate shots that follow – the clock, the sheep, and rushing workers. All of this vital information is conveyed in less than 30 seconds.

Characters’ intentions, agendas, beliefs, feelings, behaviors, and so on, can be conveyed through the careful use of metaphors. In visual storytelling, metaphors can be used to illustrate the theme or themes of your script, a plot point, or a character’s action or behavior.

In Modern Times, the sheep serve as a metaphor of the rushing workers; they are the masses – the humanity.

In a more contemporary example, let’s look at Little Miss Sunshine, directed by Jonathan Dayton and Valerie Faris, screenplay by Michael Arndt. The 1960’s Volkswagen van in which the Hoover family travels to the children’s beauty pageant, is a metaphor for the 60’s era of rebellion and freedom, and signifies the various family members’ desires and actions. The only way to get the van running is for the family to push it and then jump inside while it’s moving. This van-pushing routine symbolizes the family needing to work together in order to reconcile their differences. The open road, the pageant, and Richard’s get-rich schemes, are metaphors of the American dream.

In Frank S. Nugent’s 1936 review of Modern Times in the New York Times, Nugent writes:

SUSAN ASKS ‘LISTEN UP PHILIP’S’ ALEX ROSS PERRY ABOUT THE FILM’S NARRATION…AND MORE

August 24, 2014 / sucity / Comments Off

“Listen Up Philip” at the Locarno International Film Festival

A discussion with writer/director Alex Ross Perry, stars Jason Schwartzman and Jonathan Pryce, and cinematographer Sean Price Williams was held on 12 August 2014. In the Concorso internazionale at the Locarno International Film Festival, “Listen Up Philip“ was also in competition for the Pardo d’oro prize, the Golden Leopard. The film won the Concorso internazionale Special Jury Prize. On 13 August, it was announced that it will also screen in the New York Film Festival.

“Listen Up Philip” – the story

Philip awaits the publication of his sure-to-succeed second novel. He feels pushed out of his adopted home city by the constant crowds and noise, a deteriorating relationship with his photographer girlfriend Ashley, and his own indifference to promoting the novel. When Philip’s idol, Ike Zimmerman, offers his isolated summer home as a refuge, he finally gets the peace and quiet to focus on his favorite subject: himself.

I ask Alex Ross Perry about his decision to use extensive narration voiced by Eric Bogosian

The narration is a gimmick. We talked about Husbands and Wives pseudo-documentary style and I think a film can have a gimmick like that. It’s an interesting way to provide twice the amount of information. It’s not cheating, for example, to tell how long the characters have known each other, and to see how to give background information about the characters. I thought since it was a film about writers this was the film to do it. I think good writing is letting the situation play out naturally.

“Listen Up Phillip”

On Jonathan Pryce’s character Ike Zimmerman

Pryce: Ike Zimmerman — he’s everything I want to be. He’s my fantasy world of someone who is nasty to people all the time. I like that he’s a cynic. I enjoyed playing a character who had no filter.

On Jason Schwartzman on his character Philip

Schwartzman: I didn’t see Philip as mean and there is something nice about saying what’s on your mind and it was one of the greatest experiences for that reason. On one hand they (Ike Zimmerman and Philip) speak their mind and they like to be around each other and on the other hand they don’t.

Why cast Jason Schwartzman as Philip?

Ross Perry: He was far and away the best person for the part. Everyone asked if I wrote this for him. I didn’t. I wish I had.

Schwartzman : We spent a month together in New York before the shoot, and we wrote every scene of the movie on notecards.

Jonathan Pryce and Jason Schwartzman in “Listen Up Phillip”

Susan Kouguell Interviews Joel Potrykus, Writer, Director, Editor and co-star of “Buzzard”

August 22, 2014 / sucity / Comments Off

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

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.”

“Buzzard” : Paranoia forces small-time scam artist Marty to flee his hometown and hide out in a dangerous Detroit. With nothing but a pocket full of bogus checks, his power glove and a bad temper, the horror metal slacker lashes out.

Buzzard exists to break genre, give a middle finger to romance, spit on sentimentality, and laugh at the status quo. It’s time to bring punk back to film. —Joel Potrykus

Potrykus on “Buzzard ”

“Buzzard”

This is the final installment of the “Coyote,” “Ape,” and “Buzzard” films all starring Joshua Burge. It’s a loose trilogy. Josh does not play the same character. This is my angry young man series, the world is out to get him. Same actor, same setting, which is a dirty Midwest city landscape.

I never want to make a genre film, but I’m interested in making films taken from other genres. When people ask me: Is it is a comedy, a drama or horror? I hate to answer that; it bothers me when I try classifying it. I don’t want it to fit into some mold. I would say it’s funny, but it’s dark, and some of it is really sad. I would hope that it’s more than a dark comedy, an anti-romantic comedy.

On Writing

Some people have a rigorous writing schedule and work as a normal screenwriter. When I write a script, even when I’m not writing, I’m thinking about it. I try to set a goal; I want it done in a month, for example.

I studied film and journalism at Grand Valley State University in Grand Rapids Michigan. I thought to pay bills I would be a critic.

I start with a character — I hate to say “character study” that sounds generic — and then focus on one person and one character. I’m interested in the perspective of one person, and filter story through that perspective. My scripts centers on who that person interacts with.

Writing a Documentary Film With No Rules (SCRIPT MAGAZINE)

August 22, 2014 / sucity / Comments Off

Writing a Documentary Film With No Rules

By: Susan Kouguell | August 19, 2014

There is no “right or wrong” way when it comes to writing a documentary film. Sounds easy then, right? Well–wrong! While there are no set screenwriting rules for writing a documentary script, it can still be challenging to convey a specific subject matter and its characters succinctly.

Writing a Documentary Film

This nonfiction genre can be written, using the traditional 3-Act structure, as seen in fiction films or in a nontraditional narrative format. The use of stock film footage, reenactments, “talking heads” (interviewees’ faces discussing the subject matter), voice-over narration, animation, photographs, live action, and so on, are just some examples of the tools used to convey the story when writing a documentary. Whether you choose to present your ideas objectively or subjectively, the execution and clarity of your material is important to the success of your project.

Agnes Varda Writing a Documentary

Agnes Varda

Writing a documentary can challenge traditional narrative conventions as seen in Stephanie Spray and Pacho Velez’s film Manakamana. A documentary can portray, for example, social or political issues (Louis Malle’s And the Pursuit of Happiness, God’s Country; Joe Berlinger’s Crude, and Michael Moore’s Sicko, Fahrenheit 9/11), a musical concert (Michael Wadleigh’s Woodstock), a “making of a film” (Werner Herzog’s Fitzcarraldo), or follow the lives of a person or persons over a period of time, such as Michael Apted’s series of films 28 Up (1984), or tell autobiographical stories in a unique and revealing way, such as Sarah Polley’s Stories We Tell and Agnès Varda’s The Beaches of Agnès.

“Making documentaries is a school of life,” says Varda at the 2014 Locarno Film Festival where I asked her about her process of writing a documentary. Varda describes her style as cinécriture – writing on film. “InThe Beaches of Agnès I am turning the mirror to the people who surround me. It shows how you build the life with others.”

In a documentary, characters give a face to the story you’re telling. A character can not only be human but an animal, an object, a location, or the filmmaker can choose to be a character in his or her film. The audience should feel empathy for the people you are portraying – whether it’s love or hate, viewers must feel something and care what’s going to happen to them. If the subject matter of your project does not involve people, films can show characters directly or indirectly relating to the subject matter.

There are various techniques and modes from which writers can choose to convey their story. Whether you’re at the idea stage or have a draft of your script, keep in mind the following points:

What are the film’s themes?
What is the significant message of your story?
Who are the main characters and what are their goals and/or possible agendas?
Why is the subject matter of this documentary important to you?
See other documentaries that deal with your subject matter and explore what makes your project different.

Finding Your Story When Writing a Documentary

Documentary filmmakers approach their material, and find inspiration and ideas in various ways.

I asked writer, producer, director Allie Light, Academy Award-winner for Best Documentary Feature for In The Shadow Of The Stars with her partner Irving Saraf, how writer/filmmakers can make their distinct voice come through on film.

Allie Light: “Listen very carefully to what you are being told by the subject of your film. The film belongs to the person or persons whose stories you are telling. You are helping that person to make the story of her life. All you are is an experienced helper. Draw your ideas from the story you’ve been told. That means you must think ahead and craft an excellent interview. Ask your subject to describe his story, to tell you one more time how she saw what she’s described, how she or he might tell it to a blind person. When you have their stories presented in their own colorful language, you can’t help but work from within their visions.”

Agnès Varda: “Sometimes I go by myself to do location scouting. When I go by myself, something speaks to me in the place I’ve chosen and I think maybe I should take advantage of that. We have to be working with chance. ‘Chance’ is my assistant director.”

Whether you leave some elements to chance or you stringently stick to your script when writing a documentary, indeed, there is no right or wrong way – but listening to your interviewees, those who know your subject matter, and/or just being present in the location of the filming, the opportunity for more ideas might just further enhance your story and film.

Susan’s Conversation with Oscar Nominee Giancarlo Giannini

August 22, 2014 / sucity / Comments Off

Conversation with Giancarlo Giannini

Giancarlo Giannini was honored with the Excellence Award Moët & Chandon on 13 August at the Locarno International Film Festival. The Conversation took place the following afternoon.

Following his successes in the theater, Giancarlo Giannini made his film debut in 1965 in Gino Mangini’s “I criminali della metropoli.” In 1967 this talented singer and dancer took on the popular “musicarello” genre in the film “Non stuzzicate la zanzara” directed by Lina Wertmüller with whom he worked on nine films, including “Seven Beauties,” which earned both Giannini and Wertmüller Oscar nominations in 1977. Lina Wertmüller was the first woman director to be nominated for an Oscar.

On acting

Giancarlo Giannini in “Seven Beauties”

My acting training started as a stage actor at the Academy of Dramatic Art D’Amico in Rome; one of the oldest schools in the world. I spent 12 years as a stage actor; that’s a profession you have to give your entire self to. I was like a monk.

TO READ MORE AND TO FIND OUT WHAT I ASKED GIANNINI:

http://blogs.indiewire.com/sydneylevine/conversation-with-giancarlo-giannini-20140819

Su-City Pictures East, LLC

Screenplay & Film Consulting By Susan Kouguell

Author: sucity (page 19 of 33)

Susan’s TOP TIPS FOR SELLING YOUR SCREENPLAY

Susan’s: Highlights from the Locarno Film Summer Academy Master Class with Award-winning Director Agnès Varda

Susan’s: Grief and Plot Choices in ‘The Disappearance of Eleanor Rigby: Them’

Susan’s Conversation with director Victor Erice

Susan’s: Director Luc Besson talks LUCY and the Protagonist

Modern Times, Metaphor and Visual Storytelling (The Script Lab)

SUSAN ASKS ‘LISTEN UP PHILIP’S’ ALEX ROSS PERRY ABOUT THE FILM’S NARRATION…AND MORE

Susan Kouguell Interviews Joel Potrykus, Writer, Director, Editor and co-star of “Buzzard”

Writing a Documentary Film With No Rules (SCRIPT MAGAZINE)

Writing a Documentary Film With No Rules

Writing a Documentary Film

Susan’s Conversation with Oscar Nominee Giancarlo Giannini

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