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A Conversation with Lady Bird Writer and Director Greta Gerwig at the New York Film Festival

October 13, 2017 / / Comments Off on A Conversation with Lady Bird Writer and Director Greta Gerwig at the New York Film Festival

Greta Gerwig discusses her solo directorial debut, Lady Bird, a portrait of an artistically inclined young woman trying to define herself in the shadow of her mother and searching for an escape route.

Award-winning screenwriter and filmmaker, Susan Kouguell is a screenwriting professor at Purchase College, SUNY, and presents international seminars. Author of SAVVY CHARACTERS SELL SCREENPLAYS! and THE SAVVY SCREENWRITER, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1991 where she works with writers, filmmakers, and executives worldwide. Twitter: @SKouguell

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“Someone’s coming of age is someone else’s letting go, and I was just as interested in the letting go as I was in the coming of age.”

– Greta Gerwig

About ‘Lady Bird’

Greta Gerwig’s solo directorial debut is a portrait of an artistically inclined young woman (Saoirse Ronan) trying to define herself in the shadow of her mother (Laurie Metcalf) and searching for an escape route from her hometown of Sacramento.

The Script

Gerwig: I had a very long draft of Lady Bird at the end of 2015 – it was 350 pages. Some of the scenes didn’t go anywhere, and then I figured out what was essential and the core of the story. I don’t decide on the core of the story before I write, I write to figure out what the story is. I think the characters tell you what they are doing and what is important to them, and in some ways it’s your job to listen to them and not just to write. To listen what they’re telling you.

On Directing

This is Gerwig’s first solo in directing. When Gerwig started production on Lady Bird, she had already been working on films for 10 years.

Gerwig: I apprenticed myself in many areas. I’ve been lucky enough to work as an actress with wonderful directors, but I’ve also co-written and co-directed, and held the boom, and costumed and had done makeup, was a production assistant, basically everything you can do on a film set. Even though it’s my first writing and directing venture, it’s also an accumulation of all I have learned over the last 10 years. I went to a liberal arts college, Barnard, and I learned by doing.

No, This is not an Autobiographical Film

Gerwig: Nothing in my life is in the movie. It has a core of truth that resonates with what I know. I wanted to make a movie that was a reflection on home, about what home means, and what leaving home means. What it means for someone who wants to get out and then realize they loved it. It was a movie framed around this family and following them, but secretly it’s the mother’s movie as much as it is a film about Lady Bird. I wanted that catch. It’s also the mother’s story; I wanted that reversal to happen. Someone’s coming-of-age is someone else’s letting go, and I was just as interested in the letting go as I was in the coming-of-age.

Greta Gerwig’s solo directorial debut is a portrait of an artistically inclined young woman trying to define herself in the shadow of her mother and searching for an escape route.

Saoirse Ronan (L) Laurie Metcalf (R)

Family Relationships

The family dynamics and the conflicts that arise between Lady Bird and her parents, brother and his girlfriend are relatable and avoid cliché sugar-coating. Lady Bird, a name she has chosen for herself (her given name is Christine), is just one of the defiant steps she has taken to show her independence from her family and the strict rules of the Catholic school she attends.

While the story follows Lady Bird’s journey in her senior year as she discovers first love and dealing with social and class conflicts, what distinguishes this high school coming-of-age story is the poignant mother and daughter relationship.

The characters are distinct and who they are and the choices they make are empathetic but not necessarily sympathetic.

(I wrote about family relationships in an earlier article for this publication.)

The center of the story is the mother and daughter relationship; Marion is often demeaning and overly critical to her daughter, Lady Bird, but this behavior is complex as we come to learn more about her own backstory, and see her navigating her current life and work. Her fear of losing her daughter to a college on the east coast pushes her daughter even further away; a realistic and layered character choice.

The Era and Setting

The film opens with a Joan Didion quote about the director’s hometown, where the plot takes place: “Anybody who talks about California hedonism has never spent a Christmas in Sacramento.”

Gerwig: I felt the story was a love letter to Sacramento.

The choice of setting in the story in 2002-2003, in a post 9/11 world was deliberate.

Gerwig: We were ushered into a new age of global politics. It was the beginning of not just a geopolitical movement but the Internet, cell phones, and the glib answer – to make a film now, it’s not very cinematic to show teenagers on their cell phones and I thought this was the last generation you could make a film about without doing that.

A Conversation with ‘Faces Places’ Documentary Filmmakers Agnès Varda and JR at the New York Film Festival

October 12, 2017 / / Comments Off on A Conversation with ‘Faces Places’ Documentary Filmmakers Agnès Varda and JR at the New York Film Festival

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Director Agnès Varda and photographer/muralist JR travel through rural France, forming a powerful friendship in their first film collaboration, Faces Places.

Award-winning screenwriter and filmmaker, Susan Kouguell is a screenwriting professor at Purchase College, SUNY, and presents international seminars. Author of SAVVY CHARACTERS SELL SCREENPLAYS! and THE SAVVY SCREENWRITER, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1991 where she works with writers, filmmakers, and executives worldwide. Twitter: @SKouguell

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Courtesy of Cohen Media Group

FACES PLACES (VISAGES VILLAGES)

Director Agnès Varda and photographer/muralist JR journey through rural France, forming a powerful friendship in their first film collaboration, Faces Places (Visages Villages).  Winner of The Grolsch People’s Choice Documentary Award at the Toronto Film Festival and Golden Eye at the Cannes Film Festival Faces Places played at the 2017 New York Film Festival where the filmmakers spoke about their work.

When I interviewed Varda at her installation at the Blum and Poe gallery in New York City in April 2017 for this publication, she talked about the upcoming release of Faces Places at festivals.

Varda: JR and I got along very well; we have a 55-year age difference. We met people in the villages, listened to them. I took pictures of them, and JR enlarged them.

Documentary feeds my mind, it feeds my soul.  Filming is also learning to live with other people, learning to share something with people you may not have met before. And so it is for me especially over the last years. I like taking the time to listen to people.  The film asks: How do you perceive what’s happening to us and what’s happening to the people we meet?”

We have to share words, share time. If our film reflects that, then it’s a drop of friendship and compassion in the world. That’s what we know how to do and I tried to do it well.

Faces Places can been described as a film memoir. A road trip of two artists. The film is about their journey, not necessarily the destination.

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

Varda is the sole female director associated with the French New Wave, even labeled the grandmother of the New Wave, a title she disputed for several reasons, one being she was the same age as her male directors of this category.

Consider this label instead: A storyteller not bound by convention.

(L-R) JR, Varda, Taubin

Varda’s visual memory is reflected in this film as it captures her shared artistic sensibilities with JR: two photographers, two artists, two friends, sharing this journey together with the intention to also share it with others. The idea of community is one of the themes that the filmmakers discussed at their talk at the New York Film Festival with film critic Amy Taubin.

Listening to Varda and JR talk on stage, we witness two friends teasing the other and joking, but their respect and love for each other is undeniable.

Taubin asked how they decided to work together.

Varda:  It came in a strange way. We met once because someone said we should meet. And JR came to my place. And then we decided to do something together, we didn’t know that it would be a film.

JR: I didn’t know if Agnès was a nice lady or would beat me with a stick of wood. (They laugh then he looks at Varda): “It was friendship at first sight.

Varda then remarks on JR’s photography murals: “I love that he is making people bigger than life.”

Together Varda and JR embarked on their road trip in JR’s camera-van (a photo booth that prints out large-scale black and white portraits of its subjects), which they then paste onto walls and buildings along with their subjects in their communities.  We watch the before and after process as the filmmakers interview people reacting to their murals, giving the viewer insight into how they see themselves, how they are seen by others and the world in which they live.

Seeing, more specifically whether it’s the eye of the camera lens, JR’s eyes hidden behind his dark glasses or Varda’s failing vision, is a thematic thread that runs throughout the film.

Varda: We see enough for what we wanted to do. You need the mind to look, the heart. Looking at people is not just an eye problem.

JR: The photos are made to be part of the community.  When I take photos anywhere I let the people do their own projects and I send them back their prints. So they really decide if they want to become empowered by the art and the message they have behind it.  That question comes up when you are a filmmaker, creating projects with people in each place.

Walking with Agnès and going into small villages, I wanted to know what she was seeing in her eyes, and she wanted to know what I was seeing behind my glasses so we got to know each other.

(Residents of Pirou in Faces Places. Courtesy Cohen Media Group)

Varda: “JR is facing my greatest desire. To meet new faces so they don’t fall down the holes in my memory.”

Varda then discussed that they didn’t want to do just sketches of people, and their intention was not to do a travelogue.  JR added that there was no screenplay and no special effects in the film.

Taubin commented on the working class pride that their subjects demonstrated.

JR: That’s who we met. We didn’t scout for that.  We made sure we didn’t interview the mayor, for example. We interviewed the mailman; this was important because of the relationship he had with everyone in the community. Everyone knew him already. He explains that his work is disappearing. In the past he would go home with fruit from the people, and about the communication he had with the people, and how people are now disconnecting.

Varda: We never asked who they were voting for or their politics. We were interested in person-to-person.

JR talked about how using paste and water the people put up the photographs and how they reconnected this way; they had to speak to their neighbor and reconnect.

JR: The process of people gathering, making the artwork, the community around it and their reactions to it are an important part of the artmaking process to me.

Varda: We met these workers in a chemical factory. It’s a tough life for these workers. We asked, if we can make a collective portrait of them. Link with us. Link with the audience. Can we share their life and we are the go-between so their life comes to you. Can we get something of them that’s unique and important, and JR makes it big with images.  We learned what it means to work at the last day at a factory, we learn about the lady, who is the last one living on the street. After the film she had to leave, she’s gone. We had the feeling it was precious to film that at that moment.

We try to capture time because time is always going away, so is my life.

Agnès Varda (left) and JR (right) in Faces Places directed by Agnès Varda and JR. Photo courtesy of Cohen Media Group

Faces Places is now playing in Manhattan and will open in Los Angeles October 13, and more cities to follow.

Learn more about the Faces Places.

A Conversation with ‘ZAMA’ Writer and Director Lucrecia Martel at the New York Film Festival

October 10, 2017 / / Comments Off on A Conversation with ‘ZAMA’ Writer and Director Lucrecia Martel at the New York Film Festival

A Conversation with ‘ZAMA’ Writer and Director Lucrecia Martel at the New York Film Festival

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At the New York Film Festival press conference, film critic Amy Taubin interviews ZAMA writer and director Lucrecia Martel.

Award-winning screenwriter and filmmaker, Susan Kouguell is a screenwriting professor at Purchase College, SUNY, and presents international seminars.  Author of SAVVY CHARACTERS SELL SCREENPLAYS! and THE SAVVY SCREENWRITER, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1991 where she works with writers, filmmakers, and executives worldwide. Twitter: @SKouguell

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At the New York Film Festival press conference, film critic Amy Taubin interviews ZAMA writer and director Lucrecia Martel.

Amy Taubin (L) Lucrecia Martel (R)

“Our history was written by white men, so falsifying that history didn’t seem like a big deal to me.”

–Lucrecia Martel

At the New York Film Festival press conference, film critic Amy Taubin opened her interview with Lucrecia Martel, with the news that the Argentine Film Academy had just announced that Zama will be the country’s submission to the Oscars’ foreign-language category.

About ZAMA

Lucrecia Martel ventures into the realm of historical fiction and makes the genre entirely her own in this adaptation of Antonio di Benedetto’s 1956 classic of Argentinean literature. In the late 18th century, in a far-flung corner of what seems to be Paraguay, the title character, an officer of the Spanish crown (Daniel Giménez Cacho) born in the Americas, waits in vain for a transfer to a more prestigious location. Martel renders Zama’s world—his daily regimen of small humiliations and petty politicking—as both absurd and mysterious, and as he increasingly succumbs to lust and paranoia, subject to a creeping disorientation.

About Lucrecia Martel

Award-winning director Martel began her career making short films and documentaries for television.  Her three features La Ciénaga (2001), The Holy Girl (2004) and The Headless Woman (2006) were set in her hometown of Salta in northwest Argentina; an area known as socially and religiously conservative—a subject she addressed in these films that center on the Argentinian self-absorbed bourgeoisie.

ZAMA Literary Adaptation

This film is Martel’s first literary adaptation and her first period film. (Among the other ‘firsts,’ it is also her first film set outside her native Salta, and her first film with a male protagonist.)

Not intending to be historically accurate, the film challenges conventional historical style, and linear time with the use of narrative ellipses.

As seen in Martel’s three previous features, Zama’s themes address class, gender, race, and place.

The Interview

Amy Taubin: You had been developing a science fiction film for a while and that didn’t happen.  (This was an adaptation of El Eternauta a cult comic in Argentina.) “It seems to me that this film is both something very real with its roots in colonialism but it’s also looks like a science fiction.”

Martel: Yes, I had been working on a science fiction film from 2009 and when the film didn’t work out I went away on a trip and brought the book from which Zama was adapted. So, I also escaped on a boat and I read Zama.

I was allowed to think with a lot of liberty in science fiction but in a historical document you’re constrained to thinking about how it was in the past. When I decided to do Zama I went about thinking about it in the same free way that I had planned on working on El Eternauta. For political reasons our history was written by white men, so falsifying that history didn’t seem like a big deal to me.  As you can see I made decisions that contradict history, for example like representing the Catholic Church. (There were no crucifixes or symbols of crosses.)

It is also about existential conflicts too. I don’t think the film is that far off from the intention of the novel, regarding this very Catholic idea of waiting.  This very Catholic idea that the meaning of life comes at the very end and all the suffering that we undergo acquires some kind of reason once it ends. I wouldn’t say that the character of Zama is the anti-Christ but he does push against that.

Taubin: All your films begin and end with the body, the experience of the body. When you read the novel, there’s a lot more about character and thoughts, but this film, out of all your films, is most rooted — in every scene with the experience of the body.

(Taubin then commented on this period of Colonialism and how Martel examines how “the body manifests itself and how the others relate to the body and particularly violence on the body”.)

Martel: I think we are all in our bodies. We are alone in this island of our bodies and we invent ways to get off this island through language, through expression. We do all these things to transcend the existential solitude we feel.  Especially thinking about colonization, which imposes violence and dehumanizes the body as its first step. The first thing to do to destroy another person is not to see them. Negating other people to justify that violence.

(Martel responds to a question about the music used in the film.)

The pretentious element of the music reflects on Argentina in the way that it doesn’t identify itself as Latin American but it identifies itself as situated between Miami and Europe.

The music in the film also makes me reflect on situating the film in the past.

The novel is set in 18th century but it was written in the 1950s, and I’m here producing this film in the 2000s – so what time is it actually set in?  And in that sense, narrative time is also occurring in the present; it has to make sense today.

The 55th New York Film Festival runs from September 28 – October 15.

READ MORE HERE

Susan Kouguell Interviews Motherland Documentary Filmmaker Ramona Diaz for SCRIPT Magazine

September 20, 2017 / / Comments Off on Susan Kouguell Interviews Motherland Documentary Filmmaker Ramona Diaz for SCRIPT Magazine

Susan Kouguell Talks with Motherland Documentary Filmmaker Ramona Diaz

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Susan Kouguell interviews Ramona Diaz, filmmaker of Motherland, a poignant documentary in the heart of the planet’s busiest maternity hospital in one of the world’s poorest and most populous countries: the Philippines.

Award-winning screenwriter and filmmaker, Susan Kouguell is a screenwriting professor at Purchase College, SUNY, and presents international seminars. Author of SAVVY CHARACTERS SELL SCREENPLAYS! and THE SAVVY SCREENWRITER, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1991 where she works with writers, filmmakers, and executives worldwide. Twitter: @SKouguell

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Susan Kouguell Talks with Motherland Documentary Filmmaker Ramona Diaz

Ramona Diaz (Photo: Justin Tsucalas)

I had the pleasure to speak with Ramona Diaz about her gripping documentary Motherland, now playing in New York City’s Cinema Village, kicking off its theatrical run. Shot in a vérité style, the film foregoes any formal interviews, archival footage, experts’ opinions or narration. The film is intimate and powerful with moments of humor gently underscoring the poignancy of the subject matter.

About Ramona S. Diaz — Director, Producer, Writer, Co-Editor

Ramona Diaz is an award-winning Asian-American filmmaker. Her films include Spirits Rising, Imelda, The Learning, and Don’t Stop Believin’ which have been broadcast on POV and Independent Lens, and have screened and won awards at Sundance, Berlin, Tribeca, Silverdocs, IDFA, and many other top film festivals. She has received funding from ITVS, CAAM, Sundance Documentary Fund, MacArthur Foundation, Tribeca Institute, Catapult Film Fund, and Chicken & Egg. Recently she was awarded the prestigious Guggenheim Fellowship and was inducted into the Academy of Motion Picture Arts & Sciences. Ramona has been a film envoy for the American Film Showcase, a joint program of the U.S. Department of State and USC that brings American films to audiences worldwide.

About Motherland

Motherland takes us into the heart of the planet’s busiest maternity hospital in one of the world’s poorest and most populous countries: the Philippines. The film’s viewer, like an unseen outsider dropped unobtrusively into the hospital’s stream of activity, passes through hallways, enters rooms and listens in on conversations. At first, the surrounding people are strangers. But as the film continues, it’s absorbingly intimate, rendering the women at the heart of the story increasingly familiar. Three women—Lea, Aira and Lerma—emerge to share their stories with other mothers, their families, doctors and social workers. While each of them faces daunting odds at home, their optimism, honesty and humor suggest a strength that they will certainly have to summon in the years ahead.

KOUGUELL: Initially, you started with one idea for this film but it shifted.

DIAZ: I was in Manila researching a completely different film having to do with reproductive justice, reproductive health, and women’s rights. I was following a legislative bill, the Reproductive Health Bill, and I was interested in the social and political drama around it. When I got to Manilla I realized that the conversation there was very black and white, either for or against the bill, and I couldn’t find the nuance. Someone told me to visit the Dr. Jose Fabella Memorial Hospital for my research. It’s called a baby factory; that’s how they refer to the hospital. In the first half hour I realized this is where my film is.

Walking around the ward, listening to the conversations the women were having, drew me in. The hospital is also so cinematic. I realized too that I could still include the themes I was interested in — reproductive health, etc., — all in one place. It was clear to me that this would make a better film.

KOUGUELL: How were you allowed access in the hospital?

DIAZ: First, there was the bureaucratic access: I had to go to the Secretary of Health to get permission. This hospital has been covered by media in the past, including CNN and the BBC, but only for short pieces and they were only there for a couple of days so they were used to media attention. But what I wanted was to be there every day for six weeks with access to all parts of the hospital. And they did give me access.

The more difficult type of access was making the staff really understand what I wanted, especially the nurses. To them, (the maternity process at the hospital) was so routine they couldn’t understand why it was special. I think people don’t necessarily think of their lives as being interesting. I knew the nurses were key because they know the ins and outs, and how that place works. Their average tenure there is 25 years. They were sort of the tribal elders; I knew if they understood what I was looking for then I’d get what I needed.

Because I chose to feature patients more than the staff, it made my life harder of course, because you can’t prep for that. Getting to know the staff was important, they sort of became my embedded producers because they knew I was looking for a younger mother, a much older mother and someone in the middle. And they would point out patients; they were on my side.

I chose the women who gave birth to preemies so I could follow them over time, a few weeks. Choosing the specific women was pure instinct.

KOUGUELL: Because you were there every day, the mothers felt they could trust you, yet filming them is very intimate. What kind of questions did you ask them to build trust?

DIAZ: I told them I was making a film about their lives in the hospital in however long their stay was, their everyday experiences. I said, we don’t want to get in the way of you resting, caring for your baby, we’ll never ask anything special of you, and we’ll have the camera on you. They wondered if that was interesting. I said it was interesting for me. I said, your stories will come out through the interactions with other people. Like Lea, she didn’t know she was having twins until giving birth.

We wouldn’t shoot the entire time we were with them, we’d put the camera down and we’d talk. That also really helped. They were interested in documentaries and what it is.

KOUGUELL: Talk about your choice to shoot Cinéma vérité and not use voice-over narration or title cards.

DIAZ: I wanted to mimic the experience I had when I first visited the hospital. I wanted to drop the audience into this organized chaos and figure it out because that was my experience with it. I really felt that the narrative would emerge from the scenes that we were filming. It was purposeful. From the beginning I knew I wanted to do that.

I had conversations with my DP Nadia (Hallgren) and I told her this was pure vérité. I remember the first day we were shooting and we walked away from a nurse doing a procedure and she asked, do you want to interview the nurse, and I said no, and she said ‘great’.  Many filmmakers start interviewing people just in case, but the ‘just in case’ becomes a crux, a go-to when you’re editing and I just didn’t want that option when we were editing.

KOUGUELL: How did you find the structure of the film? Was it prior to the shoot, during it, or in post?

DIAZ: We found the structure in editing. We found it quickly. Typically I edit for nine months, we edited for six months.  What took the longest was pulling the scenes and translating them.

KOUGUELL: Once you started filming did you work from any type of outline or did you just let the camera roll?

DIAZ: It wasn’t a strict outline but I kept notes every day about the characters and places so I knew where we had to cover: the labor room, the waiting room, the ward room where most of the action takes place. It was that kind of list making. Once I got into the characters then I started writing short outlines for myself; I imagined what we could capture based on the stories that were emerging. Sometimes they were so off the mark and sometimes they were right. We followed five to six characters fully and I knew I had to follow them throughout the stay until they got discharged.

KOUGUELL: Your advice for documentary filmmakers?

DIAZ: Certainly, persevere and be passionate. Be clear on what you’re trying to say, and I’m not even talking message. Know what it is you’re trying to say with your film and what you are trying to convey. If you know this, then things will fall into place.

Motherland opens in Los Angeles on September 22nd at the Laemmle Monica Film Center in Santa Monica with a national roll out to follow.

Learn more about Motherland.

More articles by Susan Kouguell

Susan’s Script Magazine article: Jane Campion Talks Top of the Lake, The Piano, Writing and Moviemaking

September 11, 2017 / / Comments Off on Susan’s Script Magazine article: Jane Campion Talks Top of the Lake, The Piano, Writing and Moviemaking

Jane Campion Talks Top of the Lake, The Piano, Writing and Moviemaking

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 LINK TO ARTICLE

Oscar-winning writer and director Jane Campion spoke with Dennis Lim at the opening night of her retrospective titled Jane Campion’s Own Stories, about Top of the Lake, The Piano, and being a female filmmaker.

Award-winning screenwriter and filmmaker, Susan Kouguell is a screenwriting professor at Purchase College, SUNY, and presents international seminars.  Author of SAVVY CHARACTERS SELL SCREENPLAYS! and THE SAVVY SCREENWRITER, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1991 where she works with writers, filmmakers, and executives worldwide. Twitter: @SKouguell

Click to tweet this article to your friends and followers!

Photo credit: Sally Bongers

“You can’t have the agenda to make someone feel.  You have the agenda to tell the story with feeling or tenderly, and how anyone receives it, is how it is received.”

– Jane Campion

Oscar-winning writer and director Jane Campion spoke with Dennis Lim, Director of Programming, at the Film Society of Lincoln Center’s opening night of her retrospective titled Jane Campion’s Own Stories which runs from September 8-17.

Among Campion’s many accolades, she won an Academy Award for Best Original Screenplay for her 1993 film The Piano as well as the Cannes Film Festival’s Palme d’Or, the only female filmmaker to ever receive that honor. Campion is also the second of four women to ever be nominated for the Academy Award for Best Director.

Jane Campion’s work is often described as visual poetry; her distinct vision challenges the viewer with her thought-provoking and often nonconformist, psychologically complex, emotionally wrought and raw characters and their layered worlds.  A masterful visual storyteller, her work is underscored with nuances of consistent tones and distinct moods in every scene.

Campion challenges the themes of the female gaze – how women are seen and how they see and capture the world around them – as well as women’s voices (both verbal and nonverbal) in her films, such as The Piano’s mute Ada, or Dawn in Sweetie who imitates and barks like a dog when snapping at her family.

Whether in film or in television, Campion’s work continues to revolutionize how stories about women and their relationships are conveyed. She pushes gender boundaries with her psychological examination of relationships and the lives of her characters with a distinct and raw vision.

Top of the Lake

The award-winning television series, Top of The Lake, is Campion’s return to television since her 1990 An Angel at My Table, based on the autobiography of writer Janet Frame, which was first produced as a television mini-series.

When describing the motivation for doing the project, Campion talked about her love for novels and their length and the opportunity to go more in depth with characters and stories.

I was dying to explore more characters. I saw “Deadwood” and rose from my chair. It was so brave, amazing and raw, it touched me and inspired me; I was thinking, this is where the freedom is.  At the time of “In the Cut,” (2003) cinema was in a bit of a crisis. Everyone was always concerned about, ‘Will this character be likeable? Will this storyline be likeable?’ The thought of having to please people was uninspiring.

The Top of the Lake series was co-created with Campion’s film school friend and previous collaborator, Gerard Lee.

That was one of the gorgeous experiences to have a writer with you the whole time.

In thinking about Season 2, I felt we explored the scenes of Paradise and the wilderness, and so I thought about moving the story to Sydney and how Robin would kickstart her life again, and her drive towards finding her daughter.  I was thinking about the idea of her having adopted out a child and carry that thought of the child for the 17 years, and how her daughter, Mary, would have thought about the mythical mother.

Jane Campion wrote the role of Mary, Robin’s daughter, with her own daughter, actress Alice Englert, in mind.

I loved writing the scene (when mother and daughter meet for the first time); it was one of my favorite scenes I ever wrote. It is such a cliché scene and it’s hard to put the air in something like this.

I do like crime stories. It appeals to that part of me that likes to find out the truth.  I get quite obsessive – about it mattering, does the truth matter?  A crime, a vacuous space around it, as much as you imagine it, there’s a reality around it. The mythic theme of the detective who has to go to the place where the criminal committed the act, it challenges you to imagine yourself. Crimes take you to the darkest places; it’s the restitution of society that it represents. We have the Elizabeth Moss character (Robin), particularly as a woman she holds the theme of being overlooked. She is restituting herself as well as Tui.

When you make films, you are telling stories and you try to do things that you personally are trying to discover in the world. When we made “Top of the Lake” and particularly with the women’s camp and the GJ character there is a particular take on life.

The Piano

One of the most commercially successful independent films of all time and one of the top ten grossing films of 1993.

We were actually surprised with its box-office success. We met Harvey Weinstein (Miramax distributor/producer) who was extraordinary in loving up this movie and bringing these types of movies to a wider audience.

The financier was a concrete maker, and decided in his last years of life to fund filmmakers and share the profits with them.  We were allowed to do the film exactly the way we wanted to do it.

Talking to people since then about the film, it’s such a female point of view. The fact that Ada doesn’t speak, her stubbornness, her interiority, her strength, her point of view, and the piano speaking for her, speaks about not giving a voice in the world – that is not to say you don’t have an opinion.

The Tenth Woman to Serve as Cannes Film Festival Jury President Since it Began in 1946

The Cannes Film Festival has been really good to me.  The year I was president, I suggested an all-female jury. I think it would be really great because for the first time, all those men filmmakers would have to think: ‘What are all those women thinking? What are the women going to like about my movie?’ But they wouldn’t do it. I’ve spent my whole life asking, ‘What are the men thinking?’ and I think it’s time for them to ask, ‘What are the women thinking?’ in a different way than they would have done before.

There’s that feeling overall, ‘Oh, the women filmmakers, let them have that moment.’ That’s what’s really irritating.

Preparing for the Shoot

I do a lot of drawing and sketching to work out my shot lists and to imagine the props, how things will look in a scene, the lighting and how that might be, how the camera might move. Then when you come to set, you know that you’ve thought about what you want and what you need.

Inspiration and Making the Film Your Own

I’ve always been a big reader. I read a lot of diaries as well. Diaries make everything feel very fresh and very real. I’ve always been nosey – like how people organize their bedrooms, their kitchen. I’d be happy to stare at people all day long. Gerard would say, stop staring, it makes people uncomfortable.

I love poetry. I think I’m very influenced by poetry, that sense of Keats’ poetry, all poets. They make something that is so easeful. There’s that sense of always having been there. They find that beauty, that ease, and that memorable quality to a phrase. That inspires me.

I want things to feel at once like they’re effortless and at the same time that they haunt you. Because I’m working in a visual form, one of the things as a filmmaker is trying to do your own stuff. One of the things that grounds me is that I have a seminal image; something that I might have seen on the street somewhere, something that is actually seen by me.

I remember for “The Piano” I was thinking about Ada and the little girl. I was driving down the street and there was a tall girl and a short girl and they were walking very close together and they had this brown hair that was shining and wavy together and I thought, that’s Ada and Flora. That togetherness, that was the image that made me know what to do with them.

That’s one of the ways you know it’s yours. It becomes embodied in you and therefore you know the truth of it. That’s true meaning.

Get more information about the retrospective.

Susan Kouguell Interviews ‘Strange Weather’ Writer and Director Katherine Dieckmann for Script Magazine

July 27, 2017 / / Comments Off on Susan Kouguell Interviews ‘Strange Weather’ Writer and Director Katherine Dieckmann for Script Magazine

Susan Kouguell Interviews ‘Strange Weather’ Writer and Director Katherine Dieckmann

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“For years I had an image in my head of a woman sitting alone at a bar, nursing a drink, wearing a straw Stetson-like hat and jeans. She was middle-aged and still working out the terms of her life. She had lost a son, but I wasn’t sure how. This woman eventually became Darcy Baylor, and her story became Strange Weather.”

–Katherine Dieckmann

Katherine Dieckmann

A July heat wave in New York City served as a fortuitous backdrop for meeting with writer and director Katherine Dieckmann to talk about her latest feature film Strange Weather.

Dieckmann began her career as a journalist, writing for such publications as Rolling Stone, The Village Voice, Film Comment, Vogue and The New York Times Book Review, before going on to direct music videos for bands including R.E.M., Aimee Mann, Wilco, Everything but the Girl and Vic Chesnutt. Dieckmann was the originating director on the groundbreaking live action Nickelodeon serial, The Adventures of Pete & Pete. Dieckmann’s films include Motherhood, Diggers and A Good Baby, which was developed at the Sundance Institute’s Screenwriting and Directing labs.  Dieckmann is an Associate Professor at Columbia University’s graduate School of the Arts Film Program, and a Creative Advisor for the Sundance Institute. 

ABOUT STRANGE WEATHER

Strange Weather tracks an uncompromising woman (Holly Hunter) as she embarks on a trip through the south with her best friend (Carrie Coon) to uncover the truth about the one event in her life that she can’t get over. As the two women traverse a part of the country afflicted by drought and flood, a climate every bit as uncertain as Darcy’s emotional one, each stop on the road becomes a key step in Darcy’s process of overcoming, giving her a new way to think about her past, and how to transform it into a different kind of future.

Susan Kouguell speaks with writer and director Katherine Dieckmann about her latest feature film Strange Weather, starring Holly Hunter.

Holly Hunter in Strange Weather

We began our talk discussing her influences for this film.  Citing female-driven regional indies, which included Winter’s Bone directed by Debra Granik and Frozen River directed by Courtney Hunt, to Wim Wenders’ road movies.

DIECKMANN:  Granik and Hunt are women who made singular regional movies with a female character at the center of the film; I loved the tone of the films.  My Digger’s cinematographer shot Debra’s film. I know people who were involved in both films.  As for Wim Wenders, I was a journalist in my early 20s, and I interviewed him about Paris, Texas when I was 23 or so, and those films had a huge effect on me.  I saw Wenders’ films again at a retrospective at MoMA a couple of years back and we had Paris Texas on our minds.

It really was a fusion of my passion for southern literature and southern photography. I was an English major at Vassar, and I received my masters in Literature from NYU.  Carson McCullers, Eudora Welty, and Walker Evans, among others, had an impact on me with this film.

KOUGUELL: You didn’t have a formal education in filmmaking.

DIECKMANN:  I took one 16 mm class at Cornell when I was 16.

I became friends with R.E.M’s Michael Stipe when I interviewed him for an article.  He gave me a music video to direct; that was the nicest gift a friend could give you. It was an incredible way to enter into the world of making images to have that support from somebody. He could tell I was a frustrated journalist. When I started out as a journalist, Elle magazine sent me to Berlin to interview Wim Wenders, but that type of support was ending for glossy magazines and Michael could tell I was frustrated because pieces were shrinking and becoming more celebrity focused. Michael and I had the same type of taste in film.

KOUGUELL:  What was the timeline from writing the script to going into production?

DIECKMANN: I wrote the script about five summers ago. We attached Holly and it took a while to get the money; my producers were tenacious and dedicated. It was probably four years from writing to directing.

KOUGUELL:  This film was largely made by women and you mentioned that your producers Jana Edelbaum and Rachel Cohen supported your vision every step of the way.

DIECKMANN: I didn’t set out to make it so female heavy. I ended up hiring a male DP; David Rush Morrison was sensitive and the eye that I wanted, which was more important than his gender. But yes, I love giving women work.

KOUGUELL:  Strange Weather is a character-driven story. Holly Hunter’s character is very specific, relatable, empathetic, and often surprising. Was there a particular process in writing that you use to find your characters’ voices?

DIECKMANN: I have a lot of close southern girlfriends and actually this connects to my R.E.M. relationship. When I became friends with that band, I started spending a lot of time in Georgia. There is a certain cultural thing that I was interested in; how these women speak to each other and deal with each other was of enormous interest to me, the humor and the slang, and just that way of being with each other.

The characters were super clear to me from the beginning. I know Darcy would say this and Byrd would say that. The character of Mary Lou was bizarre – it was like I was channeling her.

Callie Khouri, one of my advisors at Sundance Lab, was saying how the characters of Thelma and Louise arrived to her in that way. She woke up one morning and she knew exactly what type of toothpaste these two characters would use. When you’re a writer sometimes that happens, and when that happens it’s the luckiest moment in the universe because it makes your job so much easier; you’re just channeling.

KOUGUELL:  What suggestions do you give your Columbia students about writing characters?

DIECKMANN: I give them a 40 character questions worksheet, which stems from Frank Daniel the founder of the Columbia Screenwriting Program, and then different colleagues of mine have modified it over the years. There are also exercises to do to get to know your character inside – the psyche of your character. One thing I often critique in their scripts is ‘You’re not in the scene because that character was last seen standing by the counter and now he’s sitting at a table, so how did they get from A to B.? You’re not with your character’s physical space. So, I say, be an actor in your own scene, and act it. I do that too when I’m writing. I ask: Where am I in this space? Where are the other people in this space? Is it hot in the room? Am I uncomfortable? Am I hungry? Try to be as an actor would be in that situation and I think that really helps to write more authentically in terms of what characters might say or do.

KOUGUELL: What about structure?

DIECKMANN: I’m really into structure because if you really have structure in your bloodstream it’s actually liberating then you don’t have to think about it too much.  When I teach I spend an enormous time on structure.

I teach the film ‘IDA’ for the sequences.  (Directed by Pawel Pawlikowski and written by Pawlikowski and Rebecca Lenkiewicz.) It’s hyper composed. If you break down the film, you’ll find eight masterful sequences.

Script EXTRA: Structure – The Spine of the Screenplay

KOUGUELL: Did you stay close to the script, was there improvisation?

DIECKMANN: Holly loved the script and had the entire script committed to memory. She had such an intent keen interest in the dialogue.  There wasn’t much improvisation, not because I’m controlling, but because the actors wanted to stick close to it.

KOUGUELL: Sadly, Glenne Headly passed away last month. She gave a tremendous performance.

DIECKMANN:  Glenne was a very deep thinking actor who really wanted to interrogate text on every level. I loved the chemistry between Glenne, Holly and Carrie Coon.

KOUGUELL: What advice do you have for aspiring screenwriters who are setting out on this journey?

DIECKMANN: Writing about something you’re passionate about even if it does not seem ‘marketable’ is the best thing to do. I think a lot of writers starting out try to calculate to the market, but you can’t control whether the world is going to pay attention to it. Write something that you really believe in, that’s your strength. I always tell my writers to write to their particular and personal strength, and passion. I teach a year-long class and sometimes students come in with two ideas and I say, pitch them both, and it’s completely clear what someone is invested in. Write to your investment and don’t worry if it’s fashionable. Look at Moonlight  – who would have predicted how great that such a singular voice completely uncalculated to the market broke through like that. To me, that’s what every writer should do.

Strange Weather opens in theaters on July 28.

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Susan Kouguell Interviews ‘Swim Team’ Filmmaker Lara Stolman for Script Magazine

July 25, 2017 / / Comments Off on Susan Kouguell Interviews ‘Swim Team’ Filmmaker Lara Stolman for Script Magazine

Susan Kouguell Interviews ‘Swim Team’ Filmmaker Lara Stolman

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Lara Stolman

The award-winning feature documentary Swim Team is indeed making a huge splash. On July 7th of this year, ABC World News Tonight chose the cast of Swim Team as its “Persons of the Week” and the film continues to garner note-worthy attention.

I recently spoke with director Lara Stolman about making her debut independent documentary, her creative process and how this project came to life.

Lara has produced news and documentaries that have aired on NBC, MSNBC, TLC, AMC, VH-1 and The New York Times‘ website. Her film Portraits of Survival, about coming to terms with the tragedy of 9/11 through art, was selected for the Hamptons International Film Festival, aired on MSNBC and was awarded the Cine Golden Eagle. For Swim Team, her first feature documentary film, she was named an IFP Documentary Lab Fellow, awarded the New York Women in Film and Television Loreen Arbus Disability Awareness grant and was provided with completion funding from the Karma Foundation. Lara has guest lectured on documentary production at NYU, served as a juror for the News and Documentary Emmy Awards and writes for the Huffington Post. She has a BA in Political Science from Columbia College of Columbia University and JD from Yeshiva University’s Benjamin Cardozo School of Law.

 

About the Film

Swim Team is a feature documentary chronicling the rise of a competitive swim team made up of diverse teens on the autism spectrum. Based in Perth Amboy, New Jersey, the cast of Swim Team is largely Latino and Asian, minorities that are underrepresented in competitive swimming and underserved in autism intervention and education. The film follows three of the team’s star athletes, boys on the cusp of adulthood as they face a future of exclusion and dependence. But everything changes when they come together as a team with parent coaches who train them with high expectations and zero pity. As the team vies for state and national Special Olympics championships, Swim Team captures a moving quest for inclusion, independence and a life that feels winning. 

SUSAN KOUGUELL: How did the project come about?

LARA STOLMAN: I was looking for swimming lessons for my son who has autism and I found Coach Mike and Maria. This was in the fall of 2013. They were recruiting children for their new team; the team was just coming together and so it was the perfect time to meet them and start working on the film. We were able to be there on the first day of practice, the first day the kids came together as a team.

They were so inspiring to me as a mom, as a parent, and as a filmmaker. I was very impressed with their high expectations. Coach Mike said, ‘This team is going to dominate the competition.’ No one speaks that way about children with autism. I knew that I had to see how this unfolds.  My son was too young to participate on the team at that time. It was soon after I met them that I knew I had to capture this story.

KOUGUELL: Why did you choose not to include yourself or your son’s story in this film?

STOLMAN:  My background is in film and television, and this is my first independent project. I work for networks and cable channels, and I’ve always done what I’ve been assigned to do story wise.  I never thought of myself as a personal filmmaker; that’s not how I approached my work. When the time came for me to make my film I looked up to the great cinéma vérité filmmakers, D.A. Pennebaker and Barbra Kopple.

It’s interesting, I didn’t think it was important to turn the camera on myself and yet you could say this was a very personal film. The film is very much informed by my experience. The intimacy of the scenes with these families is a result of what I had in common with them and we were able to establish a rapport.

Susan Kouguell speaks with director Lara Stolman about the creative process making her debut independent documentary and how this project came to life.KOUGUELL: The parents of the three protagonists are so open and honest about their experiences, their fears for the future for their sons, their pride of their sons’ accomplishments. Describe the process of the boys and families opening up to you. 

STOLMAN: It was a process; it didn’t happen right away. I knew I had to have the whole team involved in order to film. There were 17 kids on the team and 17 families. I needed everyone to sign release forms. I needed to call everyone up and not everyone returned my calls. I showed up at the YMCA, I went to people’s houses, and during this process I was interviewing everyone and trying to figure out who was going to be a featured character, who was going to be a featured family and who would let me, who was going to be part of the process and be a partner with me. That’s what you need with a film like this. Not everyone was interested.  I had families who didn’t return my calls or they said, ‘no we don’t want to do this,’ but everyone signed those release forms. I was able to film the story with the kids and the team and no one had to be blurred out or cut out.  For some families it was personal, there are privacy issues and there are stigma issues too with autism and I understand that.

But even with the families that were interested it was still a process to get to the point where we really had that intimacy that you see in the film. For example, the scene with Rosa where she sits down with her son Robbie to talk to him about autism — that happened later in our filming.  It was something that we worked toward. She told me when I first met her that it was important for her to have this conversation with her son. He was on the team specifically so she could tell him about who he was and his diagnosis. He didn’t need to be on that team.  Most of the kids needed to be on the team because no other team would take them but Robbie was on two other swim teams; he was on his high school team and the elite swimming team. Rosa thought it was important that he learned more about who he is and his community. I asked her if I could film that conversation and she agreed. There wasn’t a lot of direction, so to speak, but we definitely talked ahead of time; when she was thinking of doing it, what she would say. She was very nervous how to talk about it.

My relationship with these parents was more than a filmmaker and their subjects. I became part of the community, part of the team. I wasn’t a team family but I actually became a team parent.

KOUGUELL: I imagine that’s how Mikey, Kelvin, and Robbie, came to trust you and the cameras.

STOLMAN: I didn’t think it was going to pan out with Robbie. I tried to test him with my iPhone when I went to visit him at his home. I wanted to do a camera test to see how he would be on camera and he just wouldn’t talk. I guess he was nervous. I didn’t know him at that point and I thought it wasn’t going to work out because he was shutting down. Lo and behold, he emerges as one of the most charismatic characters.

We got to the point they didn’t think about the cameras.  It was myself, DP, Laela Kilbourn and my sound guy Peter Ginsburg. We are not obtrusive, and we spent a lot of time with them even when we weren’t filming. I went to the practices and participated, I spoke to the parents even when I wasn’t shooting and all of that I think contributed to the kids and parents not noticing the cameras.

KOUGUELL: Did you work from any type of scripted outline?

STOLMAN: Yes. Because I work in television and television news, I write everything in script form before I edit. I go through a process over a few months usually and with a project like this I go through all the footage and I put the whole script on paper and do a paper cut before I start to edit with my editor.  Things change when you get into an edit room.  We had a focus group at one point.

I like to write and I like to approach the story first from the standpoint of putting it on paper.   Even before I wrote a script, I wrote a treatment. Everything is transcribed, and I transcribed this project myself. I like to look at footage multiple times because each time I might be looking at things differently; sometimes you’re looking at the dialogue, sometimes the shot. Then I write a treatment or an outline, and then I write a script.  The script is something that changes when you get into the edit room. I sit there with a laptop and I’m constantly changing as we are editing. I feel most comfortable working that way. It took us only seven months to edit the film and I think that’s in part because of the scripting process and because I’m such a stickler about that.

KOUGUELL: What was the length of the shoot?

STOLMAN: We started filming January 2014 and we did most of our shooting until June 2014, then we did some follow-up the next year with the main characters.  We didn’t know what the ending was going to be.  It could have been that Mikey goes to nationals, but all these other things were happening and I realized that’s not the ending.

KOUGUELL: Did you have any specific intentions going into the project regarding the subject matter you wanted to address and did that change in any way as the filming evolved?

STOLMAN: There were certainly many unexpected twists and turns along the way and I definitely had an open mind, which you have to have in a documentary with real life characters who are living their lives.

We did know that Mikey was going to the nationals before we started shooting and that’s one of the reasons that I thought this was going to be the natural ending of the film. We didn’t know anything else; I didn’t know who the main characters were going to be.  We were following seven of the families pretty closely and it wasn’t until midway through filming that it became clear that it was these three guys on the relay team.

I knew I had a story: a season in the life of this team and the star swimmer was going to nationals. But beyond that everything else was organic, unpredictable and exciting.  For example, people have asked me if I orchestrated the Act 2 crisis point when Robbie is late for practice and I say, of course not, that’s part of the fun and unpredictability of the process.

KOUGUELL: You tackle the challenges the three boys and their parents face directly and unapologetically.  This isn’t a film only about young people who have disabilities and their families, it is also universal, as it examines the failure of the system and how parents try to navigate it as best as possible and how the community works together or doesn’t.

STOLMAN: I was mindful that this film has to transcend an audience of families with kids who are on the spectrum. I wanted it to be universally appealing.   What these families are struggling with is applicable to all parents in general.  Whether their kids have disabilities or not all, parents have to handle unexpected challenges with their children.

My producer and editor said they felt so strongly about being part of the film because they’re mothers — and their boys are typical — but they connected so strongly with the parents’ POV in the film and how much these parents love these kids and how they’re willing to do everything and anything it takes. We would like the film to move beyond a niche audience.

Swim Team is playing at the IFC Center in Manhattan until July 25 and at the Laemmie Monica Film Center in Los Angeles until July 26.  For more information about Swim Team and screenings visit their website.

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Susan Kouguell Interviews ‘The Reagan Show’ Filmmaker Pacho Velez for SCRIPT MAGAZINE

June 12, 2017 / / Comments Off on Susan Kouguell Interviews ‘The Reagan Show’ Filmmaker Pacho Velez for SCRIPT MAGAZINE

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President Ronald Reagan signs the Economic Recovery Tax Act of 1981, Rancho del Cielo, CA, 1981. Photo credit: Karl Schumacher. Photo courtesy of the Ronald Reagan Presidential Library. (Gravitas Ventures & CNN Films)

“Reagan’s embrace of ‘the script; ushered in what Paul Krugman and other commentators have called “post-truth politics,” showing that it is acceptable to replace nuanced descriptions of complicated political realities with folk wisdom and self-effacing jokes.”

–Pacho Velez

DIRECTORS’ STATEMENT

Eschewing contemporary interviews or outside commentary, The Reagan Show is composed of network news broadcasts, Hollywood films and, most importantly, the largely unseen raw footage shot by the White House Television Office crew. Through this trove of material—from the bizarre and unscripted to the unflappably professional—the film tracks the public-relations battle behind the Cold War’s tumultuous end, highlighting the key role that Reagan’s use of film and video played in his presidency. Armed with the 20/20 vision that only hindsight can provide, our immersive, self-reflective approach invites viewers to look closely at—and question—the use of narrative in contemporary politics.

—Sierra Pettengill, Pacho Velez

ABOUT THE FILMMAKERS

PACHO VELEZ

Pacho Velez (Director, Writer) is an award-winning filmmaker. His last documentary, Manakamana (co-directed with Stephanie Spray), won a Golden Leopard at the 2013 Locarno Film Festival. It played around the world, including at the New York Film Festival and the Toronto International Film Festival. His earlier work has screened in venues as varied as The Swedish Museum of Ethnography, Occupy Boston, and on Japanese National Television. He is a Princeton Arts Fellow and, beginning in the Fall, a professor at The New School.

SIERRA PETTENGILL

Sierra Pettengill (Director, Producer) is a Brooklyn-based filmmaker. Town Hall, her directorial debut (co-directed with Jamila Wignot), broadcast nationally on PBS in 2014. She produced the Academy Award-nominated documentary Cutie and the Boxer, which also won the directing award at the 2013 Sundance Film Festival and the 2016 News and Doc Emmy Award for Best Documentary. She was the archivist on Jim Jarmusch’s Gimme Danger, Mike Mills’ 20th Century Women, Robert Greene’s Kate Plays Christine, and Matt Wolf’s Teenage, amongst many others.

2/4/1983 President Reagan Nancy Reagan and David Gergen at a Press Briefing in the Press Room during a surprise Birthday Party in honor of President Reagan’s 71st birthday

I first met Pacho Velez at the 2013 Locarno International Film Festival when I interviewed him and his co-director Stephanie Spray about their award-winning feature documentary Manakamana. It was a pleasure to speak once again with Velez following the 2017 Tribeca Film Festival about his second feature documentary The Reagan Show, which was nominated for the Tribeca Film Festival’s Jury Award, and received the David Carr Award for Truth in Non-Fiction Filmmaking at the Montclair Film Festival, among other awards.

KOUGUELL: What was your intention for the film when you first started out, and did it shift in any way with the research that was done and the archival footage that was discovered?

VELEZ: I was interested in Reagan, and finding a way to watch Reagan age through the archive.  We actually started in the 1930s and made our way through the 1990s through the footage. There is an additional layer to this archive because Reagan kind of commissioned it of himself. It was overseen by a civilian administrator appointed by the Reagan administration. There is a sense that he is both the subject of the archives but also, in part, its author.

KOUGUELL:  Meaning it’s not impartial?

VELEZ: Yes, it totally reflects Reagan’s priorities; it’s another way of knowing him. You see what he was interested in. You see what he thought was important to record for posterity and in that way you get access to his thoughts on what he’s up to — and when I say “he” I also mean the institutional he; what his administration was up to.

KOUGUELL: There were 1,000 hours of archival footage that was sorted through.

VELEZ: Yes, that was really brutal. That was mostly Dan Garber, my former student, who was the researcher who received an editing credit on this film. He spent essentially three years watching footage.

KOUGUELL: As you started to assemble the footage, did your point of view of the material change, were there surprises for you?

George Bush, Ronald Reagan, and Mikhail Gorbachev all wave to the press corps. Film still from THE REAGAN SHOW. Photo credit: Ronald Reagan Presidential Library.

VELEZ: Oh yes. We had no idea the film was going to be about Gorbachev and the nuclear weapons treaty at all.  We didn’t begin with a narrative in mind. It was this idea of poring through the archives and seeing what story was inside of that.

KOUGUELL: Which material was public domain?

VELEZ: Broadcast news footage is not public domain. All the footage Reagan shot of himself is public domain because the government produced it, and so the American people own it.

There was a lot of broadcast material we were able to use under fair use rights, which means when you’re not reproducing the footage, but you’re commenting on it in an explicit way, and its source is marked.

The beginning clip with David Brinkley interviewing Reagan, that material is fair use: it has the title in the beginning stating David Brinkley interviews Ronald Reagan in his last interview in office with the date of the interview, the network it was for, and that’s all on the screen.

KOUGUELL:  Talk about the writing process. You chose not to use voice-over narration.

VELEZ: Right and we didn’t have a script. The scripting was a discussion about story. For example: Where are we going to introduce the core narrative, and when is the moment that Reagan returned to the public relations question. We had a bit about Nancy Reagan’s relationship, and if that should come early or late in the film. All those types of questions were the purview of the writer.

KOUGUELL: Some documentarians work with an actual outline, with either insertions for voice-overs or printed text intended to be in supers.

VELEZ: We didn’t do that. At times, we wrote transcripts of the film, and thought about what would be great to have, but when you’re working the way we were working, you really couldn’t do that. You had to go out and find it, and figure out how to insert it.

KOUGUELL: The film is especially timely, given our current events.

VELEZ: Yes. Our present political context shifted; the meaning of those images has changed. There’s a way that you see the seeds of Trump in Reagan’s use of media.

Ronald Reagan addresses the 1988 Republican National Convention. Film still from THE REAGAN SHOW. Photo credit: Ronald Reagan Presidential Library.

FINAL WORDS

VELEZ: Someone was asking us the other day about the film in a way that assumed it was a historical film, and I never thought about it through that lens. Obviously, it’s a film that’s happened in the past. It’s historical, but the film is explicitly doing the work of history, no one is ingesting the footage and saying, ‘Looking back 20 years I see this, that and the other.’ Although it’s a historical story, all the commentators are talking about it in the moment.

Sometimes I think it’s political archeology, media archeology, as much as history. For me, I was thinking about the differences between those ideas; you have the political discourse that is meant to be consumed in the moment and what it means to re-watch that 30 years later versus proper history and having those two speak to each other.

The Reagan Show will open in New York at the Metrograph Theater and in Los Angeles at the Laemmle Monica Film Center on Friday, June 30th, with a national rollout to immediately follow. It will also become available on VOD on July 4th.

 

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Susan Kouguell’s SCRIPT MAGAZINE Interview: ‘No Man’s Land’ Director David Garrett Byars at the Tribeca Film Festival

May 2, 2017 / / Comments Off on Susan Kouguell’s SCRIPT MAGAZINE Interview: ‘No Man’s Land’ Director David Garrett Byars at the Tribeca Film Festival

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SCRIPT Magazine link

Susan Kouguell Interviews ‘No Man’s Land’ Director David Garrett Byars at the Tribeca Film FestivalDavid_Byars_HeadShot

David Garrett Byars

I sat down with first-time documentary director David Garrett Byars during the 2017 Tribeca Film Festival to discuss his journey making his riveting film No Man’s Land.   Byars also wrote, produced and was the cinematographer on this project, which gives a gripping on-the-ground account of the 2016 standoff between protestors occupying Oregon’s Malheur National Wildlife Refuge and federal authorities.

The History

In January of 2016, protestors gathered in Burns, Oregon to denounce the federal sentencing of two ranchers. During the protest, a group led by Ammon Bundy broke off and took over nearby Malheur Wildlife Refuge. The occupation quickly attracted a stew of right-wing militia and protestors. What began as a protest to condemn the sentencing morphed into a catchall for those eager to register their militant antipathy toward the federal government. The Malheur occupation drew the national spotlight, attracting media fascinated by the spectacle of cowboys and militia rebelling against the federal government. The siege also attracted the attention of the FBI, who set up a command center nearby to counter the occupiers. During the 41-day siege, events at Malheur took a bloody turn when federal agents waylaid the leaders of the occupation en route to a community meeting. A car chase ensued that resulted in the arrests of the entire insurgency leadership and the dramatic on-camera shooting death of LaVoy Finicum, the semi-official spokesman for the group.

Armed occupiers explore and secure buildings at the Malheur National Wildlife Refuge headquarters. Film still from NO MAN'S LAND.

Armed occupiers explore and secure buildings at the Malheur National Wildlife Refuge headquarters. Film still from NO MAN’S LAND.

Susan Kouguell: What drew you to this project?

David Garrett Byars:  I started following the whole patriot movement as it related to public lands back in May of 2014. When I heard the Bundys were coming to Recapture Canyon to protest, it was about three hours west of where I was living in Colorado, which is right next door in terms of Western spaces. I drove out there with my friend Jim Hurst, who is a co-producer on the film. We realized this story was something much bigger. What we saw there were people who were very upset over a very small road closure to motorized vehicles. You could still walk there, ride horses, bike, drive a herd of cattle over the road, but the only thing you couldn’t do was drive a car or an ATV over it. It was clear that it was just a Talisman of this rural frustration particularly in the West with the federal government distrust. I saw the patriot movement as it related to public lands as a good avenue to explore this rural rage.

Susan Kouguell: How were you able to get this unbridled access to the Bundys and protesters?

David Garrett Byars:  Since I followed this movement for about two and a half years I knew of a couple of them and had been in contact with a couple of them, so when I got there I had a little bit of a leg up than the rest of the media. Also, the rest of the media kind of put microphones in people’s faces, and some of them were just trying to get to them to say the most outrageous things possible to get it on the Evening News in order to say, ‘There you go, these crazy people.’ I told them I wanted to tell the more human side of the story, and they thought that was hippie dippy BS. It was spending time with them, putting the camera down, sitting with them at the campfire and being very respectful of them and their privacy; I think that’s what allowed them to allow me to start filming more and get more intimate moments with them.

Armed agents guard the command center set up by the FBI to monitor and neutralize the occupiers at the Malheur. Film still from NO MAN'S LAND.

Armed agents guard the command center set up by the FBI to monitor and neutralize the occupiers at the Malheur. Film still from NO MAN’S LAND.

Susan Kouguell: In the film, you presented a neutral point-of-view; you didn’t disrespect the Bundys or the patriot movement, and powerfully conveyed both sides of the story.

David Garrett Byars: I could have made a real preaching-to-the-choir type of movie but then I thought no one would learn anything from that.

Susan Kouguell: Tell me about the writing process.

David Garrett Byars: I was constantly writing and rewriting as things were happening, before the occupation. Originally it was going to be more of an essay-type film. When the arc dropped out of the sky, it was a new story and I’m glad. There are essay type films about the patriot movement, but I hadn’t seen a film about public lands, and I’d rather have a narrative arc-driven film than an essay-style film. When we decided to use talking head interviews rather than purely the cinema vérité form, David Osit (editor) and I sat across from each other with a script and said exactly what we wanted to say at each moment, according to our timeline. So basically we had a timeline of our vérité footage and then we said this is what we want someone to say here, and this is what we want to say there.

Duane Ehmer rides out to confront the press after the killing of Lavoy Finicum. Film still from NO MAN'S LAND.

Duane Ehmer rides out to confront the press after the killing of Lavoy Finicum. Film still from NO MAN’S LAND.

Susan Kouguell: Instead of using a voiceover to give background information on the movement and occupation, various journalists were interviewed, which was very effective.

David Garrett Byars:  I didn’t want to use the voice of god. I grew up on one side of the political spectrum, and I’m on the other side of the political spectrum. I think that transition gives me a bit of insight. We live in a country where everyone is pointing the finger at the other side and saying, ‘You’re wrong, and because I disagree with you, you’re a bad person.’  By saying ‘you’re wrong’ – it claims a moral higher ground.

Susan Kouguell: Did you work from an outline or a script?

David Garrett Byars: Initially we went very chronologically. We put an assembly in chronological order and started picking and choosing. I did the whole note cards thing. My editor didn’t. We had it in a cinema vérité form and once that was done we saw that it didn’t say what it needed to say. We were tossing out a lot of ideas with Lana Wilson our story consultant and our editor David Osit. We reached out to journalists who were there and reached out to experts. We wanted to stay at the refuge as much as possible. That was a lynchpin moment in terms of the direction we were in. We could have made this very artsy, purely cinema vérité film, but it would have been emptier and devoid of meaning.

Susan Kouguell: You mentioned that there was a natural arc to the story that you didn’t expect. Please elaborate.

David Garrett Byars:  When the Bundys took over the line in Oregon in 2016, it was a situation in which they were forcing the federal government to react; there was going to be some sort of reaction and some sort of ending with this standoff. We already had the inciting incident, and in just pure story terms, there were things that were going to happen, and there was going to be some type of ending. As a documentary filmmaker, I feel like we are forced to find an ending or more of an emotional ending than an actual physical ending, unless of course you are making a film about a political campaign or a football season. It was definitely something I knew I had to jump on top of and take advantage of because to have this narrative arc and to move you through this whole question of how we got to this current movement of American Zeitgeist was really compelling to put you through to the larger question.

Susan Kouguell: For a first-time documentary filmmaker, you have quite the impressive team of producers. How did this come about?

David Garrett Byars: I was at the Refuge and David Holbrooke, who was just a mentor at that point, called me up and said you need to put a two-minute reel together and make a postcard, and come down to Sundance. I flew home to Telluride, got my car, because I was hemorrhaging money on car rentals – money that I didn’t have.  I drove out to Sundance and met Morgan Spurlock, basically on the street because David knew him. I gave Spurlock the card, and he said it looks awesome and to send him the film link. Soon after, he said that looks great; we’re going for it. It was really so quick. I then met one of the executives from Warrior Poets, we laid out the basic terms of the agreement, and I drove out back to Oregon the next day.  Every moment I was at Sundance I was stressing about missing something in Oregon.

Susan Kouguell: At what point did the story intention of your film change?

David Garrett Byars: When we moved into postproduction, these guys were all arrested. This was a film that was going to come out and these guys would be in jail and Hillary Clinton was going to be president. Obviously, none of those things happened. We were perhaps awakened a bit earlier than everyone else what America was beginning to look like; what it really looked like. Trump was just a lens and we were able to see what America really is. We were hyper aware of this because we were making this film, so we were incorporating this into the film as it occurred. Of course, the results came back in November of both the trial and the presidential election, and it was not what we expected.

Armed occupiers explore and secure buildings at the Malheur National Wildlife Refuge headquarters. Film still from NO MAN'S LAND.

Armed occupiers explore and secure buildings at the Malheur National Wildlife Refuge headquarters. Film still from NO MAN’S LAND.

Susan Kouguell:  This was November and now it’s April, and the film is having its world premiere at Tribeca. That’s pretty fast in terms of the editing and postproduction process.

David Garrett Byars: We didn’t change much with the ending thematically. I think almost every documentary filmmaker’s kind of urge is to make a film somehow related to Trump. We had a natural avenue to do that, but we didn’t want to go too heavy on that. We wanted to take time and made sure that we were confident with what we were going to do. We had to incorporate the new trials into the ending. Trump wasn’t the driving force of why the film changed, but it was effective.

 

 

Susan Kouguell SCRIPT MAGAZINE interview with ‘The Foster Portfolio’ Filmmaker Danielle Katvan at Tribeca Film Festival

May 2, 2017 / / Comments Off on Susan Kouguell SCRIPT MAGAZINE interview with ‘The Foster Portfolio’ Filmmaker Danielle Katvan at Tribeca Film Festival

 

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Susan Kouguell Speaks with The Foster Portfolio Filmmaker Danielle Katvan at Tribeca Film Festival

A lesson in perseverance.  This is the best way to describe the challenges Danielle Katvan faced with unyielding determination – from obtaining the rights to the Kurt Vonnegut, Jr. short story The Foster Portfolio – to directing this period piece on a low budget.

I spoke to Danielle Katvan, the writer and director of The Foster Portfolio, a poignant yet quirky 19-minute film, which had its world premiere at the 2017 Tribeca Film Festival in the shorts program section titled Your Heart’s Desire: The things you want most are often deeply hidden.

The Foster Portfolio is a story about appearances, and what lies beneath them. It is a study of human nature in a materialistic society, and the lengths to which one will go to indulge in their true passions. Based on the original short story by Kurt Vonnegut, Jr., The Foster Portfolio is an offbeat, mid-century tale about a rookie investment counselor who discovers that his penniless client is hiding a million-dollar inheritance in order to conceal a strange, double life.

About Danielle Katvan

Danielle Katvan describes the challenges she faced making 'The Foster Portfolio, from obtaining the rights to the Kurt Vonnegut, Jr. short story, to directing this period piece on a low budget.

Danielle Katvan

Danielle Katvan is an award-winning director, whose films have been official selections at festivals such as the Tribeca Film Festival, Palm Springs ShortFest, and San Francisco International. Her work has been featured on MTV, VH1 and NBC Universal and her short film, Stranger Things, received an award from Kodak for Excellence in the Craft of Filmmaking. She was named one of Film News Briefs “Filmmakers to Watch” and was selected as a finalist in the 2016 HBOAccess Directing Fellowship.

KOUGUELL: What inspired you to adapt this Vonnegut short story?

KATVAN: I first read it when I was in film school about seven years ago. I attended a 16-month program in Berkeley, California at the Berkeley Digital Film Institute and that’s where I met my producing partner and a lot of the people that I still work with today. I was looking for a project to make a short film. I’m a big fan of Vonnegut and I was reading his book of short stories ‘Welcome to The Monkey House’. I came across this story I just fell in love with it right away. His writing style felt like just a perfect fit with my sensibilities as a filmmaker; that kind of offbeat, quirky, ironic tone. The visual descriptions were just so vivid.

I fell in love with the characters of the story, especially Herbert. He’s such a complex character because he has this part of himself that he feels so much guilt and shame. And at the same time it means so much to him on such a personal level that he is willing to let his family live in near poverty in order to keep it hidden and compartmentalize his life, to maintain this double life that he is living.

KOUGUELL: How were you able to obtain the rights to the story?

KATVAN: I reached out to the Vonnegut estate and I was shot down right away because I was a student and they had no interest in collaborating with me. I spent the next five years harassing them with emails and phone calls. I eventually went over and met with them in person and brought over a bottle of wine. (Katvan laughs.) I think by that point they were so sick of me that they were like, go make your movie and leave us alone.

I told them that I was making it as a student project. I showed them some of my previous films that I wrote and directed, proving to them that I was serious and would do something good. My other shorts were screened at other festivals, including Palm Springs ShortFest.

KOUGUELL: Did you stay close to the original material?

KATVAN: I tried to stay extremely close to the original story. Originally we had a couple of more scenes and more locations, but we had to pare it down for budgetary reasons.

 

KOUGUELL: Talk about the adaptation process.  How many pages is the Vonnegut short story?

KATVAN: The original short story is 12 pages. One of the biggest challenges in adapting the story was that it was mostly written in first-person monologue from the perspective of the narrator. Bringing that to script form was a challenge without being too expositional. I wanted to maintain the literary feel in the film, which is why I kept the voice-over, although I didn’t want the voice-over to push the story forward. I wanted to pay homage to Vonnegut and keep that in the script and keep a lot of the original dialogue. It was definitely a struggle because I already knew the story, so when I was working on the script it was hard for me to tell if someone watching it for the first time would have enough information or too much information and where that balance was.

FOSTER PORTFOLIO 1KOUGUELL: How long was the shoot? The production values were very impressive.

 

KATVAN: The shoot was six days. We shot in Brooklyn and upstate New York and found a lot of historic locations. Because of budgetary constraints it was important to find places that already looked right. For example, we shot at a historic location in Brooklyn Heights called The Long Island Bar that was built in 1951, the same year Vonnegut wrote this story.

The interior of the Foster home we actually found on Airbnb. It was an untouched home with the original wallpaper and furniture. It was an amazing find.

KOUGUELL: How did you find the financing for your film?

KATVAN:  We used the crowdfunding Fractured Atlas, and some of my savings and some of my family’s money.  For postproduction we used Kickstarter.  It’s a testament to my producing partners; they were able to work magic with very little money and finding people who were talented and believed in the project and were willing to sacrifice.  People got paid little or close to nothing.

KOUGELL: What’s next for you?

KATVAN: I have a couple of feature film projects I am developing right now and some episodic concepts.  In addition to writing my own material, I’m also looking for scripts and stories to adapt. I don’t feel like I need to write everything I direct.  I’m definitely open to finding a script that inspires me and that I can bring a vision to.

Learn more about the film here.

 

READ MORE HERE

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