Su-City Pictures East, LLC

Screenplay & Film Consulting By Susan Kouguell

Category: SCRIPT MAGAZINE ARTICLES (page 10 of 13)

Susan Interviews Russell Rothberg, Executive VP Drama Department Universal Television for SCRIPT MAGAZINE

May 18, 2016 / / Comments Off on Susan Interviews Russell Rothberg, Executive VP Drama Department Universal Television for SCRIPT MAGAZINE

Susan Kouguell Interviews Russell Rothberg, Executive VP Drama Department Universal Television

By: |
Susan Kouguell Interviews Russell Rothberg, Executive VP Drama Department Universal Television | Script Magazine #scriptchat #screenwriting

I had the pleasure to speak with Russell Rothberg, Executive Vice President Drama Department at Universal Television about a wide range of topics, including breaking into television, pitching dos and don’ts,networking, and what his company is seeking. Rothberg shared his unique perspective; he has worked on both sides of the television aisle as a writer and an executive. His sensitivity towards the plight of writers was particularly insightful and generous.

Rothberg has developed Bates Motel for A&E, Chicago Fire, State of Affairs, Allegiance, Odyssey, and The Slap for NBC. Rothberg’s previous position was Senior Vice President, Drama Programming, NBC and Universal Media Studios (formerly Universal Television).  He joined NBC and Universal Media Studios in June 2009 and previously served as Vice President of Current Programming for Fox Broadcasting Company. At Fox from 2003-08, Rothberg oversaw such series as House, Bones, American Dad and The Sarah Connor Chronicles.

Kouguell: Tell me about your career trajectory. You mentioned that you moved from New York City to Los Angeles 18 years ago because someone gave you the “practical advice that there were more writing jobs” there, and that you and your wife arrived with “no money, no connections or anything.” How did you break into the television world?

Rothberg: After working various jobs, I finally got a position as a writer’s assistant on the show Legacy. I wrote a script for them and got paid, which kind of saved my life, because not long after that the show got cancelled and I couldn’t get arrested. I then temped for USA Network in scripted series. One day an executive was on a phone call to writers, giving them notes and that’s when I realized these are the people who are on the other side of the phone and I thought I could do this job. I decided to assist in a place where there was room for growth and that was at Lifetime. I thought I’m going to bust my ass and make a name for myself and get a good reputation. And I did and I got promoted. Getting promoted was key because I could talk to a lot of agents. I really became an executive to get an agent and that kind of worked.

I’m of the opinion that you don’t have to be one thing your whole life. I’ve jumped back and forth from the executive side, to the writing side, to the executive side. One day I might go back to writing and producing. I think the world is your oyster and there are options. You have to be open to everything.

Kouguell: What types of projects is your company looking for?

Rothberg: We’re open to everything. We want projects with vision, writers that have a passion and a vision. We’re not a place that turns an apple into an orange. We don’t want to say, ‘That place is looking for this so if you could change this maybe we could sell it there.’

Kouguell: What projects are you currently working on?

Rothberg: We have our new show, The Path, on Hulu and a new show, Gypsy, that got picked up by Netflix for 10 episodes that will start shooting this summer.  We have Jennifer Lopez’s series, Shades of Blue, and we’re producingEmerald City— it’s a passion project, which is kind of like Game of Thrones in the world of Oz– it’s really big and beautiful and ambitious.

We have development just about everywhere at all the cable places and streaming. Our sister network is NBC, but we sell to all the other broadcast networks.

Kouguell: How does a project come to you and then once you like a project, what are some of the steps that follow?

Rothberg: There are two ways a script will come to me; either as an idea pitched or as a spec. If it comes as a pitch, usually we will engage in the room right after the pitch whether or not we’ll buy it. We’d rather have the creative conversation right there in the room than just play our cards close to our vest. It’s really beneficial for the writer even if the project ends up not coming to us because we feel like it’s good Karma and good creatively; things will come back to you or they won’t. Whatever it is, you should just leave your best creative self on the table.

If we like it, we usually put some kind of deal in place or we’ll buy it outright. We will work on the pitch to make sure that the pitch is the best it can be, and we’ll help bring out the vision of what it’s going to be as a series and not just as a pilot script.

We’ll then figure out what the best network is to take it to. There are a lot of projects that have crossover. Some places are well defined by what they do and who they are, but some are not and they are just open to a lot of things. It also depends on who’s writing it and what the hook and the character is. We’ll then take it out, and we’ll sell it hopefully, and hopefully to more than one place; if we sell it to more than one place we can just get into a little bit of a bidding war, but we don’t always go with just the most money; we go for what the best home for it is.

Then the writer will have to come up with a story document. We tell people to make it one or two pages but they usually give us three to five. The less pages are better because then it doesn’t get steered into any particular direction other than your vision until you can really get it into an outline form. The network will then give notes and we’ll do an outlineand the same process. Then, depending on the time of year we lobby to try to get it made.

Kouguell: Do you accept unsolicited manuscripts?  Must projects come to you from an agent or manager?

Rothberg: An agent or manager is best. If I know someone in particular, and they ask if I will read something because there’s a connection, I’ll do it, but we have to jump through a bunch of hoops legally. If it’s not coming through an agent, manager or another writer who’s going to supervise or produce it that has an agent or manager, it has a very small shot of going the distance.

I do love spec scripts. People think we don’t want to read scripts because we have too many, but we love to read because then you’re getting the writer’s vision and you know what it’s going to be so the whole process I just described already exists.

Kouguell: What specifically do you look for in a script and what are some common missteps you have found?

Rothberg: Grabbing the interest of the reader in the first couple of pages is really important. That doesn’t mean there should be a car explosion or special effects or things like that. I don’t care about that. In the first couple of pages if you introduce someone in an interesting way, and it reveals something about that character, it’s going to mean more to me than a cold open where somebody dies. I want to go on this journey with your characters, and I want to keep watching them because there’s something unique, relatable or surprising about them.

For character description it’s about brevity. If you can say the same thing in six words rather than a paragraph, that’s great. The paragraph might be flowery and beautiful, and some people just write that way and it is beautiful and great, but getting your point across quickly is better.

Kouguell:  What are some dos and don’ts for pitching?

Rothberg: Keep it short. A long pitch is just a don’t. Talk about what your whole idea is in about 20-25 minutes. Try to connect personally to your pitch. For example, if you are saying, ‘My grandmother was a suffragette who had to deal with all these problems, and I was always fascinated by her story, and that’s why I’m pitching you a suffragette project’ I get it.  If you start trying to connect personally to something that feels like you’re trying too hard, we’ll know it.  Talk about the passion of why you really want to write this project.

Plot seems to be what people will pitch a lot, but it’s not the thing that’s going to carry the show. Everyone who is buying it, especially the cable outlets know that. Having a good hook or good twist is always good, but if you don’t have the characters, you don’t have anything.

Writers who have notes in front of them and don’t use them because they think people are expecting them to have the whole pitch memorized are making a mistake. If you’re a really good writer and you’re not a good pitcher, then write your pitch and read it in an engaging way. No one expects everyone to be an actor.  You have to be able to write a good pitch. I know people who are brilliant writers and can’t pitch to save their lives.

Kouguell: What do aspiring writers need to know when trying to get their work noticed and their careers off the ground?

Rothberg: The obvious one is write every day.  I suggest taking an acting class and a directing class because you’re just going to write words differently after you hear them said out loud and in a setting. It’s a good experience for everyone.

As long as you keep writing and getting your work out there as much as possible sooner or later someone will take notice. A lot of writers are not the most gregarious people who can get out there or can introduce themselves to everyone. I’m not saying be a shameless self-promoter because I don’t believe that; I think people can see through that and it gets really obnoxious really fast but you do have to network. Writing a great script and having it on the shelf and thinking somebody’s going to discover you, is never going to happen.

There are networks and companies that have screenwriting contests. You should enter everything and try to apply to programs like NBC’s program: Writers on the Verge.  I know people who got into that program and then ended up getting staffed on shows.  Those programs are really worthwhile.  ABC and Fox also have these types of programs, as do other networks.

Put your work out there. If you meet somebody, follow up. If you meet somebody who’s an assistant to an agent get to know that person and see if that person will read your work but don’t push too hard and become a pain.

Read a room is the best advice I can give. If you see someone is really willing to help you or read your work, that’s good. If an assistant reads your work and likes you, they’ll give it to their boss. If my assistant reads something that he likes, that person will get a meeting and will get considered.

Kouguell: What was the best writing advice you ever received?

Rothberg: Someone once told me, ‘Don’t be precious.’ Sometimes you’re going to have to cut things you love but it’s for the greater good of the project. Don’t get so attached that everything is precious. Even though you should have a vision and be strong about your vision, this is a collaborative business and there are certain parameters. Just get ready to collaborate.

Kouguell: Final words of wisdom?

Rothberg: There are so many places to sell right now. It is sort of a Golden Age of Television. There are so many good shows. There are over 400 scripted shows on right now and they’re more in international format. There are all kind of stories being told. My advice is, whatever you’re really passionate about, write it because there’s probably a place for it, and there’s probably nothing that’s going to come across quite as true and engaging as something that you are super passionate about.  Don’t aim at something thinking that company is looking for that, I’m going to do that. Write what you’re passionate about.

More articles by Susan Kouguell

READ MORE HERE

 

Director Rosemary Rodriguez Bids Farewell to ‘The Good Wife’ and Hello to ‘The Walking Dead,’ ’Sex & Drugs & Rock & Roll,’ and Much, Much More… (for SCRIPT MAGAZINE)

May 12, 2016 / / Comments Off on Director Rosemary Rodriguez Bids Farewell to ‘The Good Wife’ and Hello to ‘The Walking Dead,’ ’Sex & Drugs & Rock & Roll,’ and Much, Much More… (for SCRIPT MAGAZINE)

Director Rosemary Rodriguez Bids Farewell to ‘The Good Wife’ and Hello to ‘The Walking Dead,’ ’Sex & Drugs & Rock & Roll,’ and Much, Much More… by Susan Kouguell | Script Magazine #scriptchat #screenwriting

Rosemary Rodriguez and I met for a few hours at a cafe on New York’s Upper East Side on a picture perfect afternoon. Joking about the sometimes deafening noise of the passing motorcycles and trucks, we agreed that the background sounds definitely would not be ideal for a film shoot but it was just the right setting for our interview.

Just days earlier, Rodriguez attended The Good Wife series wrap party at the Museum of Modern Art. Rodriguez holds the distinct honor of directing 18 episodes of the show, more than any other director in the seven seasons of the multi-award-winning series. Episode 20, The Party, the final Rodriguez directed, had just recently aired.

Rodriguez’s long and impressive list of television directing credits include Marvel’s Jessica Jones, Empire, Sex & Drugs & Rock & Roll, Outsiders, Hawthorne, Law and Order: SVU’s Rescue Me, Castle, Blue Bloods, Elementary, and Criminal Minds. Silver Skies an independent feature Rodriguez wrote and directed, just won Best Feature at the Manhattan Film Festival in April, Best Comedy at the Tiburon International Film Festival, and the Audience Award at the Fort Lauderdale Film Festival. Joe Amodei and his company Virgil Films Entertainment (VFE) are releasing the film.

Director Rosemary Rodriguez Bids Farewell to ‘The Good Wife’ and Hello to ‘The Walking Dead,’ ’Sex & Drugs & Rock & Roll,’ and Much, Much More… by Susan Kouguell | Script Magazine #scriptchat #screenwriting

“Parenting Made Easy”–Behind the scenes with Director Rosemary Rodriguez (left) and actress Julianna Margulies on the set of THE GOOD WIFE airing Sundays (9:00-10:00 PM, ET/PT) on the CBS Television Network. Photo: Jeffrey Neira/CBS ©2011 CBS Broadcasting, Inc. All Rights Reserved

It would be an understatement to say that Rosemary Rodriguez is in high demand.

Directing for Television: A Week in the Life

Kouguell:  Television directing is a collaborative process with the actors, production heads, writers, crew, and so on.  You’re not just a hired gun who steps in and waves her hands like a magic wand and everything falls into place.  You have X amount of time, often one week or less, to direct an episode.  What’s a week in the life scenario for you directing a television episode?

Rodriguez:  A day consists of either waiting for the script or I get the script for an episode and start reading. For the first read-through I look for the emotional thread of the episode and determine what it’s about. I start formulating those ideas about what’s really going on in that story and how I can go from beginning, middle, and end of the story and be able to have a completion in the episode.

From then on, I’m anxious until I get on set with actors, then I’m okay. I start sleeping better after that read. I start getting into details like location; how many locations there are, how long are the scenes, are there any scenes that have a lot of people in them or maybe one or two characters don’t have very many lines or don’t really talk, and I wonder what’s their purpose in the scene and what is everyone doing.

Susan Kouguell sits down with writer/director Rosemary Rodriguez, director of Good Wife, Marvel’s Jessica Jones, Empire, Sex & Drugs & Rock & Roll, Outsiders, Criminal Minds and more! #scriptchat #screenwriting

On the set of ‘Hawthorne’ with Jada Pinkett Smith and Marc Anthony

I also start thinking about how the actors are going to respond to the script. I read it to see what each character’s journey is and what they’re doing. If there are any issues with that I make notes. If there are four or five people in the scene, or if you have one person who’s just standing around who has maybe just one line. I think about each character’s purpose in the scene.

I look for ways to visually tell the story — if there’s any kind of prop I can use or insert into the scene to tell that story or locations; it may not be in the script.

We go into prep and start a number of meetings. We have a concept meeting where everyone except the actors, are in the room because the actors are always shooting while you’re in prep.  We get in a room together, the heads of production and discuss what’s coming down the road. For example we have a party here in this scene so we have to have food and flowers.  And then, whoever wrote the script comes in and we hear what they have to say. By this point, I’ve already formulated my ideas about what I think the script is about and then I get to hear about what the writer thinks. Quite often, depending on the show, it’s usually in sync and if it’s not, it usually helps me see things in a different way. Sometimes I will pitch things of what I may see and it will help writers articulate their ideas. I get to work with really great writers and we then just start collaborating.

Susan Kouguell sits down with writer/director Rosemary Rodriguez, director of Good Wife, Marvel’s Jessica Jones, Empire, Sex & Drugs & Rock & Roll, Outsiders, Criminal Minds and more! #scriptchat #screenwriting

Rodriguez and Denis Leary on the set of ‘Sex & Drugs & Rock & Roll’

Then we get into casting and in that concept meeting, the casting director will be on the call, as well as the writer of the show, and the creator.  It depends on who’s in the meeting; it’s different with every show. At that point we have an idea of who the characters are and who we’re going to be casting and we get to hear from the writer about what they’re thinking about. If I’m thinking about a certain thing for a character or a certain actor that’s when I would give my suggestions. That’s when you start collaborating about casting.

After that, we have more specific meetings — wardrobe, hair and makeup meetings. We location scout, go to casting and then eventually we have a production meeting. Then things are on lockdown and then we approve things separately. The department heads come together again and we have a production meeting, to go over more details, including what are we going to see in that frame and any other issues.

Prep is really about solving problems together. Usually in the beginning of the process, but not always, we have a tone meeting. It can include me, the writer of the script, and the creator of the show; we will go over the script scene by scene and if I have questions at that point, such as: What is the motivation here? Why is his character doing this here? How about if I shoot that this way? I think this scene is from her point of view — then they will tell me what their thoughts are and that’s where conceptually it all comes together.

The other meetings are of course with the production designer, I go over the set and blocking with my AD and team, and we’ll do a little DGA theater so I know what the blocking is going to be for every scene.

That’s all in the perfect scenario.

And then that scenario blows up when the script comes late.

Late scripts are a huge problem in television because for a network show you get seven days of prep for an eight-day shoot and for cable you usually get seven days prep for a seven-day  shoot. Sometimes you don’t get the script until a few days into prep; you might have an outline or you might have nothing. You might just say, Hey, we’re looking for a hospital room or a school, so you just go scouting. It depends on the show. It infringes on my job, of course, so it can sell the whole episode short.

Jessica Jones

Marvel’s Jessica Jones and Pushing the Envelope

Kouguell: The Jessica Jones series does not shy away from violence. Episode 10, which you directed: “AKA 1000 Cuts,” was very haunting and graphic.  It effectively revealed glimpses of Jessica’s back story with Kilgrave, whose character in some ways becomes slightly empathetic (not sympathetic) because we learn more about his character, his vulnerabilities in this episode.

Rodriguez: Jessica is a great character that I connected with immediately because she’s so flawed and she’s been abused. I think the issue of rape and overcoming that, and how one deals with that, which is something that Melissa Rosenberg created, is so unique in this show. People respond to Jessica’s character and the humanity of her character even though she’s a superhero and I think that’s brilliant.

For me, every story involves finding the truth and the humanity of people. We all have darkness, and we all fall prey to judging each other rather than digging deeper and trying to have empathy or at least acceptance. Empathy is not always possible because things can be so dark; this is part of humanity whether you like it or not.

The story with Kilgrave was that he had the power to get anyone on the planet to do whatever he wants. This is very dark especially the way he uses it. But, at the core of it, the scene on the rooftop and for just a few seconds, you have this window where you could have left and you didn’t. I thought it was interesting that no matter what powers Kilgrave had, he still wanted some form of love that was authentic and real.

I felt at that point in the story and the series, I had an opportunity with the violence to actually physically show the depth of his darkness in a physical way. That’s why I wanted to be very graphic. Within the same episode is the flip side, the opposite, which is that desire of love. We see Jessica’s flaws and yet she’s so tough. (Krysten Ritter is the most amazing actress; I have so much respect for her talent.) To be able to have an episode where you also see Jessica in a dress and her vulnerability and innocence — I love those extremes; those are the things that jump out at me. I want to tell that story.

Kouguell: Tell me at your Podcast ‘The Director’s Chair‘

Rodriguez: I have writers, producers, actors, and other directors on my podcast to talk about collaborating. I love collaborating; that’s when the creative process is best.  So far, I’ve done 11 episodes on iTunes. Krysten Ritter came on so we could talk about Jessica Jones. In the show I talk with my guests about what works for them when collaborating and what doesn’t, what is their creative process, and more.

Kouguell: What’s coming up next for you?

Rodriguez: This summer I’m directing an episode of The Walking Dead — I’m really excited about that and also working on Sneaky Pete for Bryan Cranston’s Company that’s going to be a new series on Amazon; the pilot is up now. For Showtime, I’m developing Florent with Alan Cumming, and I’ve adapted the memoir Loose Girls written by Kerry Cohen, for a feature film, which has producers attached and we’ve started that process.2016 RODRIGUEZ RosemaryCrane

Kouguell: Let’s end with a flashback to 2001 and your first feature Acts of Worship, which you wrote and directed. (The film premiered at the Sundance Film Festival, and was nominated for two Independent Spirit Awards, including the John Cassavetes Award for Best Feature.)  How did that experience shape you to be the writer and director you are today?

Rodriguez: It taught me the biggest lesson of all, which is that I have a voice and that it was okay to express it. And, that I had a gift. I can’t say that after the movie I knew how to act on that gift yet, but it was the discovery of that gift. It was the discovery of why I was on this planet. So that’s a big deal. I get confirmation with every show I make; it just gets deeper and deeper. That’s why people just have to keep writing, keep creating because it’s not just about creating, it’s about gaining confidence with everything you write, to know that you can do it.

More articles by Susan Kouguell

READ MORE HERE

 

Susan Interviews Director Domenica Cameron-Scorsese & ‘Almost Paris’ Team (for SCRIPT MAGAZINE)

May 3, 2016 / / Comments Off on Susan Interviews Director Domenica Cameron-Scorsese & ‘Almost Paris’ Team (for SCRIPT MAGAZINE)

 

Click to tweet this article to your friends and followers!

almost paris

 

I had the pleasure meeting with director Domenica Cameron-Scorsese, screenwriter Wally Marzano-Lesnevich (who also starred and produced) along with his co-star and producer Michael Sorvino, and actors Abigail Hawk and Adrian Martinez, in a lively talk before the premiere of their film Almost Paris.  Enthusiastically finishing each other’s sentences and passionate in their commitment to their film, our discussion ranged from the importance of collaboration to family lineage.

Cameron-Scorsese and Adrian Martinez

Cameron-Scorsese and Adrian Martinez

About the Director

Returning to the Tribeca Film Festival with her first feature Almost Paris, Domenica Cameron-Scorsese previously attended with her shorts Spanish Boots and Roots in Water. Her first short, A Little God, won the Torchlight Short Film Award. She continues to direct and act in film and theater.

About Almost Paris

In the wake of the mortgage lending crisis, a former banker has to return home in order to get back on his feet. It is a story of resilience and redemption where one can rise up, collaborate and give back to those he loves in ways that are priceless.

Family Lineage

Domenica Cameron-Scorsese is the daughter of director Martin Scorsese and Michael Sorvino is the son of actor Paul Sorvino and brother of Mira Sorvino. I asked them if they felt somewhat under the microscope given their respective family names.

Sorvino:  There are a lot of families who are in the film business and there are a lot of family businesses in the world; a lot of kids do what their parents did.  I think you have to recognize and honor those who came before you and who you may be related to who’s had success; they have a lot of wisdom and experience. But you also have to chart your own path and be your own artist and person.

Cameron-Scorsese: My experience with this has been the last name may open doors but what matters is what you do when you’re in the room.

Sorvino: That microscope may also be a good thing. It does attract people to your film, but it’s important that we say something, move people.

Michael Sorvino and Marzano-Lesnevich

Michael Sorvino and Marzano-Lesnevich

How the Team Came Together

The evolution of the making of Almost Paris began with childhood friends, Wally Marzano-Lesnevich and Michael Sorvino, who met in sixth grade and were in the same acting program (and dorm-mates) at Rutgers University. Sixteen years ago, Sorvino and Cameron-Scorsese met at a play reading and shared a unique artistic sensibility, and as Cameron-Scorsese explained, she and Adrian Martinez had the same agent, and they all stayed in touch. During the audition process, they met Hawk, who added, “I was the new edition to their fold.”

Marzano-Lesnevich: I worked on the script for about two years. It’s such a timely story, dealing with the after-effects of the 2008 financial crash, and the ripples all of the people back home in Oyster Bay for my character. I brought the script to Michael (Sorvino) and told him I had written him a role. And the timing was right.

Sorvino: When the project was ready to go, Wally and I drew up a short list of directors.  Domenica was on each of our lists. She was the best person to direct this film. It was her perspective and her life experience. Growing up in the film business, she has a certain perspective given who she is and what she is. That was a nice added icing on the cake.

The group talked about Cameron-Scorsese’s input on the script as a dramaturg, and how they fed off each other with some on-set improvisation, and needing to be open to some script revisions due to budget and location constraints.

Hawk: Domenica brought dimension to the characters.  She kept us focused on that.

Cameron-Scorsese: It’s a very complex story. The issues involved are pretty sprawling and I wanted to make sure that we were specific, that it was something people could relate to with an emotional payoff.

Making Almost Paris

Cameron-Scorsese: We made the film on a low-budget; 21 locations, 18 of which ended up in the final cut, and 20 speaking roles. The shoot was 21 days; it was a fun and challenging marathon. In true indie fashion we really had to come together collaboratively to problem-solve every single day. The film was shot on Long Island and in New York City.  (We were doing the Made In New York incentive. Our executive producers were so incredibly generous and they wanted to make this film happen. They have extensive relationships in Oyster Bay, and you know what they say, ‘It takes a village’ – and it certainly did.

Martinez: As an actor, the one thing you hope for when you get on set is that you feel safe, safe to work with the producers and the director. On this film, I felt like a rubber ducky floating in a pool!

Cameron-Scorsese’s Transition from Shorts to Features

Cameron-Scorsese: When I had my first film deal, I was playing 15 on stage and I was in my late twenties. I made a short film for $21,000; it was before the recession and the feature was budgeted at 3-4 million. Here’s the thing; I’m 5 foot tall and fairly soft-spoken and I’m Marty’s daughter. So people would be saying, ‘Well, how do you go from $21,000 to 3-4 million?’ I think every filmmaker regardless of the other things I just listed have the same challenges with this type of budget.

Advice for Aspiring Filmmakers

Cameron-Scorsese: What’s happened in the last decade certainly with the technological advances, we’re able to make movies less expensively, more efficiently and I feel, without compromising the visual aesthetics and the value. You are able to get more bang for the buck, and going digital, the audience is prepared for it. It used to be a question of, ‘How does it look big?’ and now it’s a question of, ‘How does it look small?’ We can make movies with our phones like Tangerine. This is a wonderful time to be a filmmaker and to take advantage of it you just got to be able to access your resources and match the style and content, and be smart about it.

Martinez: This film started with two buddies connecting and making a movie. So don’t try to get Brad Pitt if you’re just starting out. Look to the buddy next to you; that’s how this film started out. It’s who you know, not who you may think you know.

The Tribeca Film Festival Experience

Cameron-Scorsese: Tribeca has nurtured me as a filmmaker, finding me when I just had a seven-minute spark of a film, and encouraging me to show them my work.  It’s been a decade-long relationship for me with Tribeca and it means so much to have our film premiere here. It’s a New York story.

More articles by Susan Kouguell

READ MORE HERE

CONVERSATION WITH ANDREA ARNOLD AT TRIBECA FILM FESTIVAL for SCRIPT MAGAZINE

April 19, 2016 / / Comments Off on CONVERSATION WITH ANDREA ARNOLD AT TRIBECA FILM FESTIVAL for SCRIPT MAGAZINE

 

CONVERSATION WITH ANDREA ARNOLD AT TRIBECA FILM FESTIVAL | Script Magazine #scriptchat #screenwriting

Conversation with Writer and Director Andrea Arnold at the Tribeca Film Festival

Filmmaker Ira Sachs (Love is Strange) interviewed writer and director Andrea Arnold at the Tribeca Talks series at the Tribeca Film Festival. Their lively discussion highlighted Arnold’s auteur viewpoint of filmmaking and some of her unconventional approaches to narrative screenwriting and filmmaking.

In 2005 U.K. born Andrea Arnold’s short film, Wasp, earned Arnold an Academy Award. She has also acquired two BAFTA awards and two jury prizes at Cannes as well as a multitude of festival accolades for her films, Milk, Dog, Red Road, Fish Tank and Wuthering Heights. On television she has directed two episodes of Transparent. Arnold’s latest film, American Honey, starring Shia LaBeouf and Riley Keough, was recently acquired by A24, about a crew of teens who sell magazines across the Midwest, is her first to be filmed in the U.S. American Honey is one of just three films from female directors in the 2016 Cannes Film Festival’s main competition and one of two from the U.K.

ON INSPIRATION

“As a kid I was always writing stories.  I’m inspired by things that I see every day. Sitting on a bus.  Someone walking up a path, and I could see her back and I start thinking about her.  I invent a whole story about her life.  Usually what starts driving me is an image I have that won’t go away.

I use a mind map.  It organizes my thoughts. I start with images and then piece it together. And then when I have a rough idea I start writing. “

WRITING “FISH TANK”

“I had an image of a girl pissing on the floor in someone’s house; it wasn’t her house. And I thought, ‘What is this girl doing?’ and then I start thinking about what that means and who she is, where she comes from, why she’s doing that, and so I start a mind map.  I start with that and think how to build from there.  I wrote the full script before the Fish Tank star was found. I cast quite close to what I saw. She fit in exactly what I envisioned.  The script didn’t change that much after that.”

GETTING SCREENPLAY FEEDBACK

“Sometimes I don’t want to hand it over but I actually got better at it and I do love getting feedback. It’s usually from the people who funded it; they are great people, really supportive and really do want to help. Sometimes I give it to people like a friend of mine who’s a painter — people I trust who understand what it means to make something. We have loads of screenings, literally inviting people off the streets to get feedback. It’s good to know what’s working and what’s not working.”

‘AMERICAN HONEY’

ARNOLD: “The idea for the American Honey script came about when somebody gave me an article from the New York Times about the subculture of kids selling magazines; it had huge resonance for me. It wasn’t the story in the article, it was just the world, and from that moment on I wanted to do it.

I did six or seven road trips here driving by myself so I could make the emotional connection with America; emotionally connecting to what I was going to do. I had a fantastic amazing crew. It was adventurous. We did a real road trip with the crew, and cast mostly unknowns.  We stayed in the same motels. Some of the poverty really shocked me.  Some of the towns, one I went through in the South, I was quite upset by what I saw.”

IRA SACHS:  “It’s interesting you talk about poverty because in your films one of the things so powerful in your films is the depiction of class and certain people you don’t often see in a lot of American cinema. I’m curious if you see intention between your subject and your audience, because your audience is primarily arthouse as is mine, and somehow there might be a disconnect between the viewer and the subjects.”

ARNOLD: “I want to show it. I’m always hoping for more compassion for the people I’m showing. You’re right; a lot of people I make films about don’t see my films.  When writing it, I’m aware of it.  I’m not trying to please anyone.”

More articles by Susan Kouguell

 

READ MORE HERE

Susan’s ‘SCREENPLAY SUBMISSIONS: Is Your Script Really Ready?’ for SCRIPT MAGAZINE

April 8, 2016 / / Comments Off on Susan’s ‘SCREENPLAY SUBMISSIONS: Is Your Script Really Ready?’ for SCRIPT MAGAZINE

SCREENPLAY SUBMISSIONS: Is Your Script Really Ready?

By: |

SCREENPLAY SUBMISSIONS: Is Your Script Really Ready? by Susan Kouguell | Script Magazine #scriptchat #screenwriting

 

The Truth

Are you really telling yourself the truth?  Be honest — when you are considering sending out your script to film executives, agents, competitions, and so on — are you thinking that your screenplay “is good enough as is” OR “I can’t look at it anymore, I’ll just send it out”?  If that’s what you’re thinking (and you’re not alone) — then you know in your gut what the answer is.  The truth is this — your script definitely needs another rewrite or several more rewrites.

The Consequences

Here are the tough facts. Once you submit your script to a company and it’s been rejected, the likelihood of that company reading the script once again even after a brilliant rewrite is nearly impossible.  It’s challenging enough to get a screenplay into the hands of film industry folks, so don’t blow your chances by being impatient with your writing process.

The Facts

Every writer is different.  Some screenwriters can hammer out a brilliant script in just a few days and a couple of drafts while others take years and dozens upon dozens of drafts.  The amount of drafts screenwriters need to complete a script is no measure of talent; a script takes the time it needs to be good.

Get Feedback from Truth Tellers

Before you submit your screenplay, get feedback from people who will tell you the truth. And nothing but the truth.  So, giving it to people who might sugarcoat their critiques — such as family members and best friends, who probably want to remain on good terms with you, is probably not your best choice.  Knowing what to ask when receiving feedback will help you stay focused and enable you to gain more objectivity with your screenplay.

20 Questions to Ask When Receiving Feedback

  1. Did you care about the story and characters?
  2. Does my plot make sense?
  3. Does my script have a solid three-act structure?
  4. Are the stakes clear?
  5. Is the genre clear and consistent throughout the script?
  6. What elements made the story engaging? Were there places you lost interest or felt were implausible?
  7. Is the subplot (or subplots) overpowering the main plot?
  8. Are the scenes building to a climax?
  9. Have I paid off actions that I set up?
  10. Does the dialogue ring true for each of my characters or does it feel interchangeable?
  11. Is this script a page-turner?
  12. Is each scene advancing the plot forward?
  13. Are there scenes that drag or ramble?
  14. Are my main characters’ journeys clear?
  15. Do any of the characters need to be further developed?Are my characters memorable?
  16. Are my characters’ objectives, motivations, obstacles, and journeys clear and compelling?
  17. Are the characters multi-dimensional?
  18. Did you find the story or characters predictable in a way that was detrimental to the script?
  19. Are the action paragraphs an interesting read or are they too dense?
  20. Is this script a page-turner?
  21. Is each scene advancing the plot forward?
  22. Are there scenes that drag or ramble?
  23. Are my main characters’ journeys clear?
  24. Do any of the characters need to be further developed?
  25. Are my characters memorable?
  26. Are my characters’ objectives, motivations, obstacles, and journeys clear and compelling?
  27. Are the characters multi-dimensional?
  28. Did you find the story or characters predictable in a way that was detrimental to the script?
  29. Are the action paragraphs an interesting read or are they too dense?
    The Truth Be Told – Final TipsOnce you have implemented feedback and feel absolutely certain that your script is absolutely ready to be submitted, you need to do the following:

    • Have someone else proofread your script one last time. Formatting errors will greatly risk your script getting rejected.
    • Register your screenplay with the Writers Guild of America in order to project yourself from theft of ideas. Most film industry folks will not accept your script if it is not registered.
    • Whether submitting to a company, agency or script competition, make sure that you carefully follow all submission guidelines and submit a script only when it has been requested.

    Remember, if you are tired, bored, frustrated, or (fill in the adjective) of your screenplay—so will the agent, manager, producer, script competition reader, and all the film industry folks to whom you are submitting your project.  Your script is your calling card to the film industry so always submit your absolutely best screenplay!

    More articles by Susan Kouguell

    READ MORE HERE

A Conversation with Sheila Nevins President HBO Documentary Films for SCRIPT MAGAZINE

March 2, 2016 / / Comments Off on A Conversation with Sheila Nevins President HBO Documentary Films for SCRIPT MAGAZINE

A Conversation with Sheila Nevins
President HBO Documentary Films

by Susan Kouguell

Click to tweet this article to your friends and followers!

A Conversation with Sheila Nevins President HBO Documentary Films by Susan Kouguell | Script Magazine #screenwriting

“Diversity is economically intelligent.  And it turns out that excellence is diverse.”
— Sheila Nevins

At the 2016 Athena Film Festival held at Barnard College in New York City, Sheila Nevins, President of HBO Documentary Films, presented a poignant and often funny Master Class to the audience of screenwriters and filmmakers, moderated by Athena Film Festival co-founder Melissa Silverstein.

Sheila Nevins is responsible for overseeing the development and production of all documentaries for HBO, HBO2, and Cinemax.  As an executive producer or producer, she has received 28 Primetime Emmy Awards, 32 News and Documentary Emmys, and 40 George Foster Peabody Awards. During her tenure, HBO’s critically acclaimed documentaries have gone on to win 23 Academy Awards.

What Nevins Looks For in a Project

“What makes a great documentary for me is something human.  It’s finding empathy for people you might never meet; it’s something in you that relates very closely to them. I sometimes look for the little stories, people you might not know. People you might forget. I’m interested in average, ordinary things. I’m not name or celebrity conscious. I’m people conscious. I’m particularly interested in original experiences. Ordinary people have extraordinary tales.”

An Unlikely Mentor

“I was constantly aware of ugliness and sadness. My mother was ill and had an arm amputation below her elbow.  Many years ago we were in Chock Full o’Nuts, and it was very hot. My mother had a knot tied at the end of her sleeve and I said, ‘Let’s pull up the sleeve.’ And we did.  And the woman next to us said, ‘I can’t eat if I have to look at that.’ That woman was my mentor.  I’m ashamed to say I tied that knot on my mother’s sleeve back on.  Maybe I’m making up for that. Nothing is too ugly or too true for me.”

Portraying Disabilities

“In the HBO documentary Alive Day Memories: Home From Iraq we stressed survival, not the disability.  It’s our job to introduce the disability after you’ve met the person. In the film Life According to Sam, Sam explains his illness Progeria so brilliantly. The opening we see a kid playing, we don’t see his face. You see his toys. You notice his hands are a bit different and you’re invited into the world you know, the Lego world. And slowly you go through Lego land, you hear his voice. This child is 28 years old.”

Getting Your Movie to HBO

“We re open to ideas. We don’t assume that experience duplicates itself just because you had a hit. You’re as good as your last film. We have a lot of first-time filmmakers. There are so many outlets for documentaries now.  We are interested in ideas from the outside so no one else gets them.

The interpretation of ideas is precious and what your access to these ideas and how close you are to that experience is important.”

READ MORE HERE

 

The World is Your Characters’ Stage (SCRIPT MAGAZINE)

January 21, 2016 / / Comments Off on The World is Your Characters’ Stage (SCRIPT MAGAZINE)

THE WORLD IS YOUR CHARACTERS’ STAGE:
Top Ten Tips on Creating a Character’s World 

by

Susan Kouguell

Susan Kouguell is an award-winning screenwriter, filmmaker, and chairperson of the screenplay and post-production consulting company Su-City Pictures East She is the author of The Savvy Screenwriter: How to Sell Your Screenplay (and Yourself ). Follow Susan on Twitter: @SKouguell

Click to tweet this article to your friends and followers!

THE WORLD IS YOUR CHARACTERS’ STAGE: Top Ten Tips on Creating a Character's World by Susan Kouguell | Script Magazine #scriptchat #amwriting

Where are we?  Why are we here?  What does this place really look like?

These are just a few of the questions you don’t want film executives asking themselves about your script because they are confused rather than intrigued.  If these film industry folks are questioning these ‘where, why, and what‘ issues, then you are risking your script getting rejected.

This is a topic I also detail in my book Savvy Characters Sell Screenplays! – which I have summarized in my top 10 points below.

Top Ten Tips

  1. Effectively establish your settings so the reader can step into the world you have created with a complete understanding of how it looks and feels.
  2. Be faithful and consistent to the world you have created and its rules.
  3. Research the various settings and time periods in your script for accuracy and plausibility. For example, if your script is set in medieval times, indicate if the setting is a realistic down-and-dirty, muddy, smelly village or a genteel mythic pristine village.
  4. Action paragraphs should briefly describe elements, such as the technology used, barren wastelands, flying horses, and so on.
  5. Always keep in mind that action paragraphs should be as an interesting to read as your dialogue. Readers must quickly get a visual picture of the world you have created.
  6. If your screenplay is set in the past, don’t forget to include the year that your story takes place, otherwise you will confuse the reader.
  7. If your screenplay is set in the present day but jumps forward or backwards in time, always include the year or a reference to that particular change.
  8. Keep in mind that setting your script in a major city or a small town should not be a random decision — each setting will further define what your story is about and how your characters will behave and feel in this specific environment.
  9. Interior settings are equally important as exterior settings. Inform your reader by offering some details, such as specific trinkets in a living room; this will help define your characters and story.
  10. Settings can be an integral part of the plot; they can be specifically named, such as the Atlantic City setting in Louis Malle’s film Atlantic City, where the characters are defined by and are metaphors of this setting, or they can be generic settings which are equally specific in how they are defined, as seen in American Beauty (directed by Sam Mendes) where the picture perfect American suburb informs the plot and is a metaphor for the American Dream.

    The more plausible and/or logical things are, the more real your world will be for the film executive to want to turn the page.  Take the time to set the stage in your screenplay and indicate how your characters relate to their various environments. Well-executed settings will not only add an extra layer of depth to your screenplay, it will make your script shine in the eyes of film industry folks.

READ MORE HERE

Happy Holidays to Your Screenplay’s Characters (SCRIPT MAGAZINE)

December 28, 2015 / / Comments Off on Happy Holidays to Your Screenplay’s Characters (SCRIPT MAGAZINE)

Happy Holidays to Your Screenplay’s Characters

By: |

  

Happy Holidays to Your Screenplay’s Characters by Susan Kouguell | Script Magazine #scriptchat

With the holidays underway, families are gathering to share in good cheer.  Or at least that’s what many families in the movies are attempting to do.  Yes, that’s their ‘goal’ — but what actually ensues when the parties get underway, is often filled with hilarity or drama — and sometimes both.  A variety of films such as Home for the Holidays (directed by Jody Foster), Home Alone (directed by Chris Columbus), Love Actually (directed by Richard Curtis), and It’s a Wonderful Life (directed by Frank Capra) continue to be found on many ‘best of’ lists. While their genres might differ, they share something poignant in common; they’ve touched upon some universal and relatable family issues and relationships.

Making the Most of Capturing the Holiday Family Dynamics in Your Screenplay

The ways in which characters relate to each other and the types of relationships they have, add the necessary layers of depth and conflict in a screenplay. Characters’ specific needs and goals can motivate them to seek help from one character for advice and assistance, or slyly befriend another character to achieve a goal. Relationships can be judgmental or nonjudgmental, one character can hold the other accountable for his or her actions, or assist the other through a challenging time. One character may have a hidden agenda and take advantage of another character, who is led to believe that he or she is being helped to achieve a goal, or characters can form an alliance to achieve a specific goal.

Getting to Know Your Characters Under Pressure

loveactually

Love Actually

Understanding and conveying what makes your characters act and behave the way they do is imperative in a successful screenplay.

I follow my own advice that I offer my consulting clients and students, which is to write character biographies in your character’s voices (in the first person.)  Make it a fun exercise for yourself — once it becomes a chore, you’ll lose interest and it won’t truly help you bring the best out of your characters.

Choose whatever setting you feel will tap into the truths and minds of your characters.  Put your characters on a therapist’s couch, on a tense television talk show set, or even trapped in an in-law’s attic — the sky’s (the locations) the limit.

Here are some interview questions excerpted from my book Savvy Characters Sell Screenplays! Your characters can answer some or all of the suggested questions below and/or you can invent some of your own.

Interviewer’s Questions

  • How do you feel being interviewed?
  • What are your hopes and dreams?
  • Describe the home where you grew up.
  • If you could be anywhere in the world right now where would it be?
  • What are your secrets?
  • Why are you keeping those secrets?
  • Describe your adversary, and explain how this person became your adversary.
  • Who makes you angry?
  • Who makes you happy?
  • Describe your family members.
  • Are you close to your family?
  • Is there one member of your family with whom you are particularly close?
  • Why do you feel close to this family member?
  • Is there one family member you despise and if so, why do you despise him or her?
  • Who are the most important people in your life, and why are they important to you?
When Harry Met Sally

When Harry Met Sally

Let’s close out 2015 with some holiday cheer from Nora Ephron’s When Harry Met Sally. Here, Harry and Sally finally reunite at a New Year’s Eve party, and Harry proclaims:

“And it’s not because I’m lonely, and it’s not because it’s New Year’s Eve.  I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.”

Happy Holidays!

READ MORE

Tips on Writing Love Relationships (SCRIPT MAGAZINE)

December 10, 2015 / / Comments Off on Tips on Writing Love Relationships (SCRIPT MAGAZINE)

5 Tips on Writing Love Relationships

By:

Click to tweet this article to your friends and followers!

Tips on Writing Love Relationships by Susan Kouguell | Script Magazine #scriptchat #amwritingLove stories can be found in all genres and this year’s films are no exception. From mainstream Hollywood  to independent movies, the quest for love can be found in such films, including Brooklyn, Paper Towns, Far from the Madding Crowd, Carol, Me and Earl and the Dying Girl, and Trainwreck.

While not all these films contain the formula of boy meets girl, boy loses girl (complications break them apart) and boy gets girl, these narratives do contain empathetic characters — characters the audience cares about and are rooting for them to succeed in their journey.

In my book Savvy Characters Sell Screenplays I write:

Misunderstandings, mistaken identity, and embarrassing and awkward moments are just some situations couples can find themselves in when it comes to romantic relationships. The love interests can be polar opposites, unknowing soul mates, come from different social classes or backgrounds, have different temperaments, and/or find themselves brought together by an unusual set of circumstances without which they would not have normally met or spoken. The obstacles the couple must face can bring them together or force them apart.

In It Happened One Night (Directed by Frank Capra, Screenplay by Robert Riskin) this classic romantic comedy set in the 1930s Depression-era, protagonists Ellie Andrews and Peter Warne are brought together in an unusual and funny set of circumstances.  Ellie Andrews is a spoiled, stubborn, headstrong heiress, who, against her father’s wishes, just married King Westley, a fortune-hunter playboy.  Escaping her father’s clutches she runs away—and onto a bus to return to King only to meet Peter Warne, an arrogant and self-centered recently fired newspaper reporter, who drinks, gambles, and chases women. Recognizing Ellie, Peter sees this as his opportunity to get his job back and presents her with an ultimatum: Give him an exclusive on her story and he will help her reunite with King or he will tell her father where she is and collect the reward. Ellie reluctantly agrees. Adventures ensue, as they travel by bus, on foot, and hitchhike, surviving exhaustion, hunger, adversity, class differences, and assorted calamities, which ultimately brings them together and they fall in love.

Five Love Relationship Writing Tips

  1. Establish your characters’ needs and wants for finding and/or losing love.
  2. Empathetic characters with definitive identities and specific hopes and dreams, will inspire the reader to root for them to succeed in their relationship
  3. Indicate how your couple will benefit from this romance.
  4. Invent clever obstacles that break up your love interests and find innovative ways to reunite them.
  5. Keep in mind that the two lead characters don’t have to end up together in the end like in My Best Friend’s Wedding.Whether you’re writing a tear-jerker or rip-roaring comedic love story, film executives want to be moved, entertained, and believe in your characters’ love relationships.

 

 

READ MORE

 

Top Ten Tips on Choosing an Agent (SCRIPT MAGAZINE)

November 27, 2015 / / Comments Off on Top Ten Tips on Choosing an Agent (SCRIPT MAGAZINE)

Top Ten Tips on Choosing an Agent

By: |

  

Top Ten Tips on Choosing an Agent by Susan Kouguell | Script Magazine #scriptchat

Congratulations!  You just might have found an agent.  You just got a response from your brilliant query or pitch, and an agent is interested in representing you!  Hallelujah!  Do the happy dance but don’t lose your common sense!

In my book, The Savvy Screenwriter, I write:

When I first got into the film business I uncharacteristically lost my common sense. I didn’t trust my rational gut instincts. Why? I wanted to write. I wanted to see my scripts made into films. If someone had asked me to jump, I would have asked not only, “How high?” but also, “For how long?” Whether dealing with an independent production company, a studio, or agent, I was putty in their hands.

I didn’t ask agents how they planned on working with me or how they thought they could sell my work. (I was represented by agents who wanted me as part of their stable of writers, but they didn’t really know how to place my work. Because I never asked what type of scripts they actually sold, or if any of my scripts might be submitted as writing samples to companies, or if I should write another script in a different genre to show my diversity, or offered suggestions as to where to submit my scripts, I never got hired for assignments and didn’t sell one script.) By not asking questions, I often worked with people who didn’t share my vision of my work or career. If you don’t ask questions, you might just repeat my mistakes!

Top Ten Tips on Choosing an Agent

  1. Choose an agent who is signatory to the Writers Guild of America (wga.org). Guild signatory agents must abide by rules that will best protect you, including fees they charge for both selling your work and finding you writing assignments.
  2. Research the agent to confirm his or her real film industry connections. You want an agent who has established and extensive contacts in the industry in order to increase that agent’s opportunities to sell your spec script and/or find you writing assignments.
  3. The prospective agent should share your sensibility and vision. If he or she doesn’t really understand you and your work, (and certainly vice versa) this relationship will likely not benefit either one of you.
  4. Don’t be afraid to ask agent questions, including what their game plan is for you and your work, and where they intend to submit your projects.
  5. If the agent represents many writers (maybe too many writers) whereby the ratio of writers to agents is high, (for example more than fifty writers to one agent), than you might want to question whether you’ll get enough attention.
  6. The agent / writer relationship is a business relationship, not a friendship. You may like the prospective agent personally, but honestly consider if he or she is truly the best person to represent you.
  7. Ask the prospective agent how you will be working together. For example: Calling or e-mailing an agent once a week or biweekly and scheduling strategy meetings every few months is a reasonable request.
  8. Agents who represent clients who are working steadily, is a positive reflection on the agent’s ability and clout in the film industry.
  9. Ask the prospective agent if he or she will read your new work, and if so, how long you should wait until receiving feedback.
  10. My best advice: Trust your instincts to determine if the potential agent is the best person to champion you and your work.

Remember…Don’t lose your common sense!  It’s great news that an agent has expressed interest in representing you, but do not jump into a relationship without making sure the agent is a good fit for you and your work.

READ MORE HERE

« Older posts Newer posts »

Recent Posts

Search

Categories

© 2024 Su-City Pictures East, LLC

Theme by Anders Noren — Up ↑