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Screenplay & Film Consulting By Susan Kouguell

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SUSAN’S CONVERSATION WITH ARMIN MUELLER-STAHL

August 12, 2014 / / Comments Off on SUSAN’S CONVERSATION WITH ARMIN MUELLER-STAHL

Conversation with Armin Mueller-Stahl at the Locarno International Film Festival Winner of the Lifetime Achievement Award – Parmigiani

The conversation took place on a sunny afternoon in Locarno on 8 August 2014 moderated by Ralf Schenk.

The many notable directors with whom Mueller-Stahl has worked include     Costa-Gavras, Andrzej Wajda, Jim Jarmusch, David Fincher, Steven Soderbergh, Ron Howard, David Cronenberg and Rainer Werner Fassbinder.    Born in East Prussia, the Oscar-nominated Mueller-Stahl is a classically trained violinist and an acting school dropout. He moved to West Germany at the    age of 50, and later made the transition to working on American Hollywood and independent films and television.

Mueller-Stahl:     “This year I am 84, which is a long life by the way.”

When asked about the films he feels particularly attached to, his response is “Avalon” and “Music Box.”

        
             Armin Mueller-Stahl in “Avalon”

Mueller-Stahl:     “I filmed them in parallel over the same year. In “Avalon” (in the role of Sam Krichinsky) I played a German; I was the head of a Jewish family. And    in “Music Box.” I played Mike Laszlo a war criminal. The two roles could not have been more different. It was an unforgettable experience. I felt    like a kind of Mephistopheles.”

Sam Krichinsky in Barry Levinson’s “Avalon”:

“I came to America in 1914 – by way of Philadelphia. That’s where I got off the boat. And then I came to Baltimore. It was the most beautiful place you    ever seen in your life. There were lights everywhere! What lights they had! It was a celebration of lights! I thought they were for me, Sam, who was in    America. Sam was in America! I didn’t know what holiday it was, but there were lights. And I walked under them. The sky exploded, people cheered, there    were fireworks! What a welcome it was, what a welcome!”

Mueller-Stahl:    For Avalon there was a press junket with 12 Jewish journalists. The first journalist asked me, ‘Please tell me about your Jewish heritage.’ I made    a long pause. I didn’t answer straight, so I made a curve. ‘My grandfather came from St. Petersburg to Germany – unfortunately he got off at that stop    otherwise I would have been an American star and you wouldn’t ask me that question.’ I paused. ‘I’m not a Jew.’ Then another journalist put his hand on my    shoulder warmly, ‘You are a Jew’.

When I made Music Box with Costa-Gavras I said to him, ‘Maybe I’m (the Mike Laszlo character) not guilty in the very beginning. I would like to keep the door open to almost the end. This guy is guilty of course, in the end you know he’s guilty. He said, ‘No, it wouldn’t work.’ After three days,    Costa-Gavras came to me and said, ‘Let’s do it your way.’

        
             Armin Mueller-Stahl in “Music Box”

On playing many villains

I played many awful guys. There is always a dark side in a person. I’m always trying to find in a bad character the good in him.”

To read more:

http://blogs.indiewire.com/sydneylevine/conversation-with-armin-mueller-stahl-at-the-locarno-international-film-festival-winner-of-the-lifetime-achievement-award-parmigiani-20140812

SUSAN’S Interview on Locarno Pilot Project

August 11, 2014 / / Comments Off on SUSAN’S Interview on Locarno Pilot Project

The Locarno Summer Academy’s New Pilot Project – The Industry Academy

The Locarno Industry Office has joined forces with the Locarno Summer Academy to launch the pilot project Industry Academy (8 – 12 August), an    educational, multi-disciplinary program for young industry professionals.

    I met with Nadia Dresti, (Delegate to the Artistic Direction, Head of International of the Locarno International Film Festival), along with Sophie Bourdon    (originator of this project; international sales consultant and former director of Atelier du Cinema European) and Marion Klotz (longtime festivals manager    and acquisitions executive at Memento Films), to talk about their new program — the Industry Academy — a three-day intensive workshop.

        

When describing how this pilot program came to be, Dresti states, “We were thinking about what changes do we need in the film industry; and how can you    reinvent this industry if you project 10 years ahead from now, because it’s changing so fast.”

Dresti, Bourdon and Klotz explained that their impetus for the Industry Academy was born from the fact that very few European film schools offer courses    about the industry. Their goal is to fill this existing gap in film schools by offering a very practical shortcut to the international industry world.

Bourdon: “The idea is to share what is going on — to compare situations and experiences from Latin America, Europe, and so on, such as new ways of showing    films.”

To read more:

http://blogs.indiewire.com/sydneylevine/the-locarno-summer-academys-new-pilot-project-the-industry-academy-20140810

Susan’s Conversation with Melanie Griffith, Rachel McDonald and Gale Harold at the Locarno International Film Festival

August 10, 2014 / / Comments Off on Susan’s Conversation with Melanie Griffith, Rachel McDonald and Gale Harold at the Locarno International Film Festival

 

Conversation with Melanie Griffith, Rachel McDonald and Gale Herold at the Locarno International Film Festival 2014

On a sunny afternoon in Locarno on 7 August, Boyd van Hoeij from Variety moderated a discussion with short film “Thirst” director Rachel    McDonald and its stars Melanie Griffith and Gale Harold. The topics ranged from the making of McDonald’s film, to the actors’ takes on the differences    between working with men and female directors, to ageism in Hollywood.

I asked Rachel McDonald about using crowd-sourcing to fund “Thirst“.

Rachel McDonald    : “We shot a teaser and put it on Kickstarter. I learned a lot about social media in a short period of time. We raised the money in two different rounds    and were able to do the shoot. I was overwhelmed by the generosity and people who had faith in us. There are two donors here in the audience today; they    drove three-hours from Italy today to be here! I think crowd-sourcing is amazing and people can be a part of telling a story in a different way.”

About Thirst

        
             Melanie Griffith

Rachel McDonald    : “Thirst’s” themes are about compassion and about the human connection. There are definitely themes of mercy that reflect on ourselves and on each    other. Sometimes that comes in the form of a complete stranger or those already in our lives. With an undercurrent of addiction.”

Melanie Griffith:     “My character, Sue, is a down-and-out alcoholic. And this young man comes into her life and they have this sort of understanding and go through a    metamorphous together. And Rachel, I must say was an incredible director and allowed what happened without the words, to happen in this world. I’m here    because I love the film. I want to support her in many more movies.”

Gale Harold    : “My character, “John” comes in about halfway through film; he has an oracle quality, he’s saying things he doesn’t have reason to know about and makes    offhand statements that become echoed through the film.”

McDonald: “The movie takes place over a period of three days. The script, written by Michael Albanese, was inspired by a true story that    happened to him when he was living in New York City in the 90s, and was broke and disconnected, and got a temporary job in Hell’s Kitchen. We developed the    story together.”

Boyd:     “You had a screenplay and a great story, but how do you get Melanie Griffith in this movie?”

 

To read more:

http://blogs.indiewire.com/sydneylevine/conversation-with-melanie-griffith-rachel-mcdonald-and-gale-harold-at-the-locarno-international-film-festival-20140809?utm_source=slDaily_newsletter&utm_medium=sailthru_newsletter

 

Susan’s Ask the Screenplay Doctor column Tips on Evaluating Agents and Production Companies

August 8, 2014 / / Comments Off on Susan’s Ask the Screenplay Doctor column Tips on Evaluating Agents and Production Companies

 

Top Tips on Evaluating Agents and Production Companies

Here’s the scene: You receive a call or email — an agent is interested in representing you and then another call and another email — now a production company wants to produce your screenplay. You’ve been working on your script for months, maybe years and finally — jubilation!  You are headed for success.  But wait!  Put the brakes on and take a deep breath.   Don’t jump into a relationship with the first person (or the second or third or fourth…) who expresses interest in your screenplay. It certainly is flattering when someone is interested in your work, not to mention the possibility of actually seeing your screenplay turned into a film and/or the chance to get representation — but be careful. Always trust your gut instincts and don’t be afraid to ask questions!

Top Tips on Evaluating Agents and Production Companies

http://www.newenglandfilm.com/magazine/2014/08/agent

Susan Interviews Stefano Knuchel Head of Locarno Summer Academy

August 8, 2014 / / Comments Off on Susan Interviews Stefano Knuchel Head of Locarno Summer Academy

 

I met with Stefano Knuchel, Head of the Summer Academy, the afternoon before the Academy and Film Festival began. Now in his second    year in this position, Mr. Knuchel is enthusiastic about the students’ talents and the exciting opportunities that await them at the Academy.

Knuchel: “Every continent except for Australia has been represented so far at the Academy. The shape and tradition of the Academy is mixing life with    cinema.” Knuchel continues, “The program gives students a sense to be a well-rounded director. It’s difficult to be yourself and in moviemaking …what does    it mean to be yourself?” Knuchel smiles, “You film who you are.”

An important goal of the Academy is the exchange of ideas and experiences not only with the filmmakers offering master classes, including Agnes Varda,    Roman Polanski and Victor Erice, but also between the students themselves.

Knuchel: “The students’ gain not only knowledge but an exchange with other filmmakers at their level; some of the students from last year are now making    movies together.”

To read more:

http://blogs.indiewire.com/sydneylevine/susan-kouguell-interviews-stefano-knuchel-head-of-locarno-summer-academy-20140807

SUSAN’S INTERVIEW WITH LOCARNO FILM FEST ARTISTIC DIRECTOR CARLO CHATRIAN

August 7, 2014 / / Comments Off on SUSAN’S INTERVIEW WITH LOCARNO FILM FEST ARTISTIC DIRECTOR CARLO CHATRIAN

Just steps from the outdoor screen and the 8,000 seats that have been set up on the Piazza Grande where the 67th Locarno International Film    Festival will open on 6 August, I sat down with Artistic Director Carlo Chatrian to talk about films of the past and present, the American independent film    line-up, Roman Polanski and Agnès Varda.

The Festival

        

Kouguell: This is your second year as Artistic Director. What changes will we see at the Festival this year?

Chatrian:     “Last year, I didn’t want to change the Festival that much because I felt, and still feel, that the structure is good and fits the goals — to continue on    the same path with (both) the history of cinema and new films. This year’s selection of new films will have more surprises than last year. The main    competition last year was composed of mainly quite well-known directors; this year there is a good balance of first-time, lesser known and established    directors.”

Kouguell: Are there any current trends in filmmaking that you have found in this year’s films?

Chatrian:     “Cinema as an art form has more than one direction. Luckily there are filmmakers willing to take different directions and we see this here at this year’s    Festival. I’m always a little bit concerned when some critics say, ‘the new cinema will be this or that’ — what I can say is that cinema — especially    through young filmmakers — seems quite vibrant and not a dead art form.”

To read more about Agnes Varda, Roman Polanski and more…:

http://blogs.indiewire.com/sydneylevine/susan-kouguell-interview-with-carlo-chatrian-artistic-director-of-the-locarno-international-film-festival-20140806

Susan’s ‘Indiana Jones and the Powerful Protagonist’ for The Script Lab

August 7, 2014 / / Comments Off on Susan’s ‘Indiana Jones and the Powerful Protagonist’ for The Script Lab

 

INT. JOCK’S PLANE – DUSK

Indy relaxes and lies across the seat, a big smile on his face. One hand drops to the floor of the cabin and Indy jumps, hitting his head. On the floor of the cabin is a

huge boa constrictor. Indy tries to get his whole body onto the seat. Jock sees what’s happening.

JOCK

Don’t mind him. That’s Reggie. Wouldn’t hurt a soul.

INDY

I can’t stand snakes.

JOCK

The world’s full of them, you know.

INDY

I hate them.

JOCK

Come on now, Sport. Show a little of the old backbone.

Raiders of the Lost Ark (directed by Stephen Spielberg, screenplay by Lawrence Kasdan) was shot by Oscar-winning cameraman Garrett Brown, (inventor of the Steadicam), and who is receiving the Vision Award at the 2014 Locarno International Film Festival.

Seeing Raiders of the Lost Ark again — most recently at the pre-festival outdoor screening at the 8,000-seat Piazza Grande at the Locarno International Film Festival, I was reminded about the strength of this iconic protagonist who has launched sequel after sequel. Indy has weaknesses and vulnerabilities – all of which make him an identifiable protagonist for the audience.

In the chapter entitled ‘Your Unforgettable Characters Come Alive’ in my book Savvy Characters Sell Screenplays! I write:

Characters must be complex, fully defined, multifaceted, and distinct. Readers must understand who your characters are, their motivations, behaviors, needs and goals, and feel empathy for them.

To read more…

http://thescriptlab.com/features/screenwriting-101/2795-indiana-jones-and-the-powerful-protagonist

 

 

SUSAN’S INTERVIEW WITH NADIA DRESTI FOR INDIEWIRE/SYDNEYSBUZZ

August 7, 2014 / / Comments Off on SUSAN’S INTERVIEW WITH NADIA DRESTI FOR INDIEWIRE/SYDNEYSBUZZ

 

Nadia Dresti, Delegate of the Artistic Direction, Head of International at the Locarno International Film Festival, is passionately dedicated to    spotlighting independent filmmakers from countries that face challenges getting their work noticed and distributed. Ms. Dresti and I met at her office a    few days before the start of the Festival to discuss the various initiatives that will take place during Industry Days, which runs from August 9-11.

From the Festival Web site:

Industry Days are aiming to play an active role in the support of auteur films: whether launching a new project or extending and optimizing existing    services and initiatives, the goal of Locarno’s Industry Office is always to support sales agents, distributors, producers and exhibitors in their    respective tasks, ranging from the conception to the release of independent art-house cinema.

The Industry Office of the Locarno Film Festival facilitates networking among world film industry professionals attending the event, supporting producers and agents presenting films at the Festival by connecting them with international sales and distribution professionals and exhibitors.

To read more:

http://blogs.indiewire.com/sydneylevine/susan-kouguell-interviews-nadia-dresti-head-of-international-at-locarno-international-film-festival-20140806

 

Susan’s ScriptLab article: The 14 Vital Points for Outlining Characters

July 26, 2014 / / Comments Off on Susan’s ScriptLab article: The 14 Vital Points for Outlining Characters

 

Readers must have a clear understanding of who your characters are and the reasons why they take the actions they do in your screenplay; otherwise your script will be rejected.

Successful characters are multi-dimensional with distinctive physical attributes, emotional traits, appearances, personalities, intelligence, vulnerabilities, emotions, attitudes, idiosyncrasies, a sense of humor or prevailing despair, secrets, and hopes and dreams. Writing solid and memorable characters also means digging deep into their past and present.

There are several ways in which to delve into characters, such as writing character bios in the character’s voice.  (I offer various templates and examples in my book Savvy Characters Sell Screenplays!).  Use whichever exercise works best for you.  The bottom line is that you must know your characters inside and out.

The 14 Vital Points to Address in Your Character Outline

The following points to address for each of your main characters and for your significant supporting characters:

1.     Character Arcs:  How do my characters evolve in the beginning, middle, and end of the script, as they attempt to achieve their goals?

2.     Journeys:  What do my characters learn about themselves and others, and what do my characters gain or lose, as the plot unfolds?

3.     Multi-dimensional:  What are my characters specific emotional, mental, physical, and/or social behaviors and traits? How do my characters see themselves and how do they relate to others?

4.     Empathy: What elements make my characters likeable and unlikable?

5.     Goals: What are my characters main goals and why are these goals important? How do my characters plan to achieve these goals?

To read more:

http://thescriptlab.com/features/screenwriting-101/2773-the-14-vital-points-for-outlining-characters

Susan’s Screenwriters Utopia piece: David Cronenberg, Subplots, and Plot Twists

July 25, 2014 / / Comments Off on Susan’s Screenwriters Utopia piece: David Cronenberg, Subplots, and Plot Twists

On a recent trip to Amsterdam to the EYE (national museum of film)  I visited the major exhibition of director David Cronenberg’s work. One section, featuring clips and information about his film, A History of Violence, reminded me of this powerful work that I also referenced in my book, Savvy Characters Sell Screenplays! – specifically in the chapters in which I discuss subplots and plot twists.

TOM STALL In this family, we do not solve problems by hitting people!

JACK STALL No, in this family, we shoot them!

Tom slaps his teenage son, Jack.

In A History of Violence (screenplay by Josh Olson), family man and small town Indiana diner owner, Tom Stall, becomes a local yet reluctant hero after he shoots two thugs, who attempt to rob him.  National news coverage of this event prompts the arrival of Fogarty and his two henchmen from Philadelphia to confront Tom.

Plot twists can be illustrated through character revelations; who they truly are and what they are capable of doing for survival, loyalty, love, and so on, or during the story when an unexpected event occurs. In the case of this film, the plot twist unfolds when it is revealed that Tom Stall is not only Joey Cusack, an ex-killer from Philadelphia—but he has kept his true identity secret for twenty-years from his wife and their two children. Hence the title A History of Violence — the underlying meaning for Tom Stall centers on his own personal history of violence.

There is nothing more satisfying to an audience when they are taken by surprise, but plot twists should be true to your story and not tacked on just for the shock element.

To read more: http://www.screenwritersutopia.com/article/af5ed45a

My latest article:
http://www.screenwritersutopia.com/article/af5ed45a

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