June 13, 2024 / sucity / Comments Off on Susan’s Interview with ‘The Freshly Cut Grass’ Filmmaker Celina Murga, Presented by Martin Scorsese at the Tribeca Festival
Celina Murga discusses the scriptwriting process, the major themes of gender roles in the workplace and at home, and the conflicts and repercussions of the actions of the male and female professor in each of these environments.
Premiering at the Tribeca Festival in the international narrative competition The Freshly Cut Grass directed by Celina Murga, and written by Murga, Juan Villegas, and Lucía Osorio, is executive produced by Martin Scorsese.
About the Film
A male professor at a university is in conflict with his own roles as husband, father and teacher. The eventual relationship with a female student highlights his crisis. As in a mirror, a female professor, also in crisis, has an eventual relationship with a male student. The duplicate story questions the power relations between genders.
I had the pleasure to speak with Argentinian writer, director and producer Celina Murga during the Tribeca Festival about The Freshly Cut Grass. We discussed the scriptwriting process, and the major themes of gender roles in the workplace and at home, and the conflicts and repercussions of the actions of the male and female professor in each of these environments.
The parallel storylines are thought-provoking, and avoid cliche and predictability.
Still from The Freshly Cut Grass (2024).Courtesy Barraca Prods.
Kouguell: Let’s start with the evolution of Freshly Cut Grass from script to screen.
Celina Murga: It was a challenging process from the beginning because we knew that the possibilities of telling the two stories about human relationships are complex. It was challenging to mirror the stories.
We worked a lot with the actors. We shot first with Joaquín [Furriel] and then the Marina [de Tavira] story to mirror the story on a set. We worked hard to try to find a way to connect with their situations and to build these characters, knowing the complexities they are immersed in.
Kouguell: Tell me about your screenplay collaboration with your co-writers Juan Villegas, and Lucía Osorio.’
Celina Murga: I always like to be involved in the writing process and write stories I care about. I like to work with others who give their point of view to what I’m doing. It’s a very democratic process. Sometimes in the beginning, Juan and I wrote one character, I wrote about Natalie and he wrote about Pablo and then we switched characters.
We were going to shoot in 2020 but then there was the pandemic. During this time we kept reflecting about the story and characters. We showed the script to others we trusted because it was important to figure out if the situations were subtle enough.
Kouguell: In his executive producer role, what input did Martin Scorsese have on your film?
Celina Murga: He allowed us to reach more producers. In a more creative way, he read the first version and saw one of the first edited versions. He was part of the creative process, and very supportive and generous with me. He’s someone who likes to be there and be part of it, and at the same time aware of me as a woman director and not someone to push the story he wants to tell on me. In that deeply profound way, he is a true mentor in allowing me to find my own voice.
Kouguell: You mentioned that the story developed from two characters in crisis, and that this idea proposed a very particular structure that restricts and provokes certain ideas of mise en scène, and aims to be a mirror in which two very similar stories take place. How did you develop the script’s structure?
Celina Murga: When we started writing this film in 2018, in Argentina we were in a big movement regarding families and we were talking about these ideas of how men and women are sometimes different and many times are also equal.
In the story we wrote, we knew that these two characters were going to be in a middle-age crisis and in a particular moment in their lives, asking about themselves as fathers, mothers and teachers. An important part of the process was to find the scenes where they were similar and at the same time not literally similar, and that was a really beautiful process to find a way that each character has their own particularities.
It happened in the script but also in the editing room process; the editing room is another way of rewriting the script and it’s very important.
Kouguell: Although the film is set in Argentina, the story feels universal.
Celina Murga: Argentina is where I was born and my home, a place where I know and am interested in talking about human behaviors. And it is very universal. For me, the film is about how we relate to each other and what it is to be a family, and what it is to be in a marriage of many years. It also questions how society and culture have made us a part of these systems. My main goal is to find more honest ways of being together in this world.
The Freshly Cut Grasshad its World Premiere at the 2024 Tribeca Film Festival in the International Narrative Competition.
Upcoming Tribeca screenings:
Thursday, June 13 – 3:00 pm EST at AMC 19th St. East 6
Friday, June 14 – 3:15 pm EST at Village East by Angelika
May 10, 2024 / sucity / Comments Off on Susan’s Interview with Steve McQueen and Bianca Stigter about their Documentary ‘Occupied City’
In a deeply personal conversation with filmmakers Steve McQueen and Bianca Stigter, they discuss the recurring themes of time, memory, and history in their respective work and in their collaboration on ‘Occupied City,’ as well as breaking the rules of traditional documentary filmmaking.
About Occupied City: The past collides with our precarious present in Occupied City, informed by the book Atlas of an Occupied City (Amsterdam 1940-1945) written by Bianca Stigter. McQueen creates two interlocking portraits: a door-to-door excavation of the Nazi occupation that still haunts his adopted city, and a vivid journey through the last years of pandemic and protest.
Steve McQueen is a British film director, film producer, screenwriter, and video artist. His film 12 Years A Slave received an Academy Award, two BAFTA Awards and in 2016 the BFI Fellowship. McQueen’s critically acclaimed and award-winning films also include Hunger (2008), Shame (2011), Widows (2018) and the anthology series Small Axe. Past documentary works include the BAFTA-winning series Uprising (2021). For his work as a visual artist, McQueen was awarded with the Turner Prize, and he represented Great Britain at the Venice Biennale in 2009. He has exhibited in major museums around the world. In 2020, McQueen was awarded a knighthood in the Queen’s New Year’s Honours List for his services to the Arts.
Bianca Stigter is an historian and cultural critic. She writes for the Dutch newspaper NRC Handelsblad and published three books of essays. Stigter was an associate producer on 12 Years a Slave and Widows. In 2019 she published the book Atlas of an Occupied City. Amsterdam 1940-1945. In 2021 she directed the documentary Three Minutes – A Lengthening, which premiered in the Giornate degli Autori at the Venice Film Festival and was selected for the festivals of Telluride, Toronto, Sundance, as well as IDFA and DocA- viv. It won the 2022 Yad Vashem Award for cinematic excellence in a Holocaust related Documentary.
There is a haunting quality to Occupied City, hearing the emotionless voiceover text about the Nazi occupation of Amsterdam over images of contemporary life in Amsterdam. With encouragement from McQueen and Stigter I began this interview on a personal note, recounting when I saw the film at a recent press screening. Images of the neighborhood Apollolaan where my mother grew up, and the text about the Hunger Winter, the countless atrocities, including the many Jews forced into hiding, and the specific identification cards with the letter J stamped on it. My grandmother was among those in hiding, and she too had these documents, which I shared with McQueen and Stigter. I thanked them for allowing me the time to share this with them and expressed that this interview is not about my story, but about their film.
Still from Occupied CityA24
McQueen: It’s all of our stories. I don’t think you should leave yourself out of this interview; it would not be in service to your readers. It’s important to have this transparency. To be honest with you, it’s wonderful to add your experience into the interview because you’re a survivor of this situation.
Kouguell: Steve, in your interview with curator Donna DeSalvo in 2016 at the Whitney Museum, you discussed your installation piece End Credits about the Paul Robeson FBI files. The idea/theme of words being redacted, brought to mind not only the obvious government censorship but the idea of the literal erasure of history.
There is a thematic correlation between this work End Credits and Occupied City, and Bianca’s documentary: Three Minutes: A Lengthening Trailer. These works are historical investigations, which address the erasure of history, and the fragility of memory and time.
Bianca StigterCourtesy Bianca Stigter/A24
Stigler: What they also share is that you can find new forms to deal with the past and you don’t necessarily have to stick to the strictly well-known feature film or documentary genre, you can try to find a new way to convey history and the erasure of certain histories. And, also to make it more of an experience than a history lesson. There’s certainly common ground there.
McQueen: Both of us are very much about the audience and how things can sink in. With End Credits, it’s much more sculptural than Occupied City and Three Minutes, it’s for an art space due to the nature of its presentation.
Kouguell:Occupied City’s length of 4 ½ hours including an intermission requires a type of commitment from an audience. If it was two hours, for example, I don’t think the film would have the same impact. Steve, you mentioned that the film had to have the weight of time, the weight of recounting history, and to give the viewer time to reflect.
McQueen: Once people see the film, the length is never discussed. If anything, when it comes into discussion people wish it was longer.
Stigter: People said they lost any track of time. You enter a different zone of time, you don’t feel the clock ticking and you are transported somewhere else. One thing is for sure; you hear so many individual stories and you see so many people that you realize you can’t hear everyone’s story, then the film would have to be 100,00 times longer. It gives you a certain tension that no matter what you do, you can never know it all.
Steve McQueenCourtest Steve McQueen/A24
McQueen: It’s about the practice. It was the whole idea of using Bianca’s text, which occurred over 19-20 years of research, and projecting on that the every day. We never contemplated it to be shorter. When I was shooting it, I didn’t know what it was going to be, I had to find it through the process of filmmaking.
Kouguell: Bianca, in your film Three Minutes: A Lengthening,you made the decision not to show any contemporary faces except at the very end. We only see the three minutes of footage repeatedly shown and freeze frames of a home movie in 1938 Nasielsk in eastern Poland months before they were deported to ghettos by the invading Nazis.
With Three Minutes: A Lengthening and Occupied City you both made some unconventional choices in conveying your narrative, such as avoiding talking heads, and not including or only including archival footage from the past.
Stigter: In Three Minutes, it exists only out of archival footage from 1938. Doing things in this way makes you think about time more. With the other forms of documentary, people almost forget there are also forms; here you are asked to think about it.
Kouguell:Occupied City was shot over the course of 2 ½ years on 35mm film, and you had 34 hours of footage. With the exterior shots, did people know you were filming them?
McQueen: Most of the time people knew because the camera was there but sometimes not. It was the case of getting the everyday and wanting to be spontaneous.
Kouguell: Was anything staged? I’m thinking about the scene where the bicyclist hits a woman towards the end of the film.
McQueen: It just happened. Sometimes you have to predict the unpredictable.
Kouguell: There is a huge responsibility to the history of Amsterdam, the people of the past, and the present. Obviously you cannot include it all so the choices then become what to include or embrace, what to honor, what to leave out. How did you arrive at these decisions in Occupied City?
McQueen:We shot everything in Atlas of an Occupied City – over 2,100 addresses. When we had the footage, it was a case of certain things being repeated so therefore we could leave that out, and then we decided what was the best for that particular version. What flowed and what didn’t. We were fortunate to have this rich footage and situations to make this movie.
Stigter: When I was writing the book, the most harrowing part was when I couldn’t find any information about someone except that he or she was born and murdered, and that was all. If you can keep a little bit by telling about someone, there is at least something left instead of nothing. For me that was difficult to come to terms with; you can’t tell everything.
Kouguell: Bianca, I read that you referred to your book Atlas as “time machine on paper” – it’s a beautiful way to reference it.
Stigter: For me, it felt like that because you have a lot of history books that deal with the big picture or have the story of one person. What fascinated me was, could you imagine walking through a certain street back in that time so you knew things about the shops and the offices and the people that lived there; that you can get a sense of how something was in a different time and that fascinated me.
The strange thing about Amsterdam, in the city center, the canals, and so on, is that they are very much from the 17th and 18th century. You cannot see the Second World War and what happened there but you know it happened in the same spots where people were round up or executed, or took their own lives. The book and the film both try to cross that, while at the same time acknowledging that it is uncrossable. There are all kinds of tension between the past and present throughout the whole film.
Kouguell: What questions haven’t you been asked in previous interviews that you would like to address about Occupied City?
Stigter: The music; it’s very important for movies in general and in this movie, it is especially important.
McQueen: What composer Oliver Coates brought to the table was so transcendent; it brings another layer into the narrative, another echo in the audio sense.
Stigler: It makes it more abstract in a way but also grounds it very much.
Kouguell: What was then and what is now repeats for me. Ending with the bar mitzvah rehearsal and then the actual bar mitzvah was quite moving.
McQueen: We were invited to our friends’ son’s bar mitzvah. We thought it would be a good idea to shoot it. It was one of those things that everything in this movie is about our city; it’s about where we live, where our children go to school. We talked to the rabbi for permission.
In a way, it was to say that after all that, the Nazis didn’t win. There is a Jewish life that continues and exists in Amsterdam today. It was a very personal way to end the film. It’s about our family and our friends, and all of our futures.
Stigter: It’s beautiful and hopeful. It’s something fragile of course. We see and hear the boy’s voice trying to read the old words – it is very touching for me. It was also about not showing just the bad things but also the good things.
Kouguell: What has been the response to Occupied City from the Dutch audience?
Stigter: We had the Dutch premiere in the most beautiful cinema in the world, the Tuschinski theatre. The original owner was murdered in Auschwitz during the war.
McQueen: It was extremely special to have the premiere there and we dedicated it to him. It was a packed theater. You could feel the atmosphere was special to put this movie in this cinema.
Stigter: To see it in Amsterdam or another cinema, when you walk outside, I think one will have the feeling, I’ll look differently at my city now. In a funny way of course, people realize yes, that it’s very extremely local but it also has something universal. One can imagine this film in Paris or in London or New York. One can imagine the film anywhere.
Kouguell: Indeed. It is universal.
McQueen: Your background and history is amazing and thank you for sharing it with us.
Occupied Cityis in limited release in theaters and is available on most streaming platforms.
May 10, 2024 / sucity / Comments Off on Pulling the Curtain Back at Script Magazine with Editor-In-Chief Sadie Dean and Senior Contributing Editor Susan Kouguell
We each come from a unique position as filmmakers ourselves, which offers a shorthand, not to mention inspiration when interviewing screenwriters and filmmakers. They’re appreciative when we find nuances in their work that perhaps no one has commented on before and for us, it often gives us further insight into our own projects.
Canva
Susan: One of the most common questions that I get from my students and Su-City clients is the importance of going to film school. There is no one-size-fits-all answer; it depends on the types of films you want to make and your career goals.
After undergraduate school, I was a fellow at the Whitney Independent Study Program, which was a perfect match for my practice as an experimental filmmaker. Now decades later, many of us remain close. Having that community is invaluable.
You attended the American Film Institute in the screenwriting program. How was that experience?
Sadie: It’s a super intense program. You’re writing, producing, and just putting out work constantly. What’s so good about that program is that you are in this really great group of people who are fostering what you’re trying to do as a creative. You have all the support systems to make your projects, and if you fall down in terms of writing, they lift you back up in some way.
It’s all traditional narrative filmmaking and linear storytelling.
A lot of us came straight out of undergrad school and in our early 20s, and taking out an incredibly large loan, not realizing how that’s going to affect your future. You hope that you’re going to sell a big script and make it big, but that’s not the reality. Coming out of film school and not having that support system anymore is hard. You can’t just necessarily say, OK, I’m going to make this film, and I have these people and the money to do it, because the school’s basically giving it to you or giving it to you from your own tuition.
Sadie Dean
I think there is a benefit in going to a film school like that, because you’re going there not only to make movies and work on your voice as a storyteller, but you’re networking. The first day there I remember being told: ‘look to your left, look to your right, look in front of you, look behind you, you’re paying for your network, you don’t know if the person is going to be your agent, or your producer, or your director.’
You’re building that film tribe. You never know who they’re going to know and put you in touch with. But then after the program is over, there’s that feeling of where I find my people again. Some are smart and go in different directions.
Susan: Define smart.
Sadie: They’re not ‘just’ screenwriters. I feel like if you’re going into this business, and you want a career after film school, become an editor or cinematographer because there’s a lot more work there and not as much for a first-time screenwriter out the gate. Unfortunately, I wish there was.
There is just more accessibility, I think especially for editors. I know a lot of editors who say, ‘Yes, I’m on a reality show, but I’m paying my bills.’ They’re networking with other people who will bring them on to different shows or to a feature. You’re still working in the industry. Whereas for screenwriters, it’s a little tough particularly to be in the industry unless you’re an assistant or something and a lot of us don’t want to do that.
Susan: We’ve been talking about the benefits of producing. I associate produced two independent features. Honing that skill, knowing how to navigate getting a film made from script to screen, raising money, working with entertainment attorneys, agents, talent and crews, was invaluable.
Trajectories and Detours
Sadie: You came through a non-traditional way of filmmaking to find your way into the studio system.
Susan Kouguell
Susan: It was a confluence of things. I volunteered at the Independent Feature Film Market, working as a buyer liaison, putting filmmakers together with executives. This got my foot in the door. Soon I was hired as an acquisitions and talent consultant for Republic Pictures and Warner Bros., which led to working in various capacities at Paramount Pictures, Viacom, Punch Productions, and Miramax. With that experience combined with making my experimental short films, I worked with director Louis Malle on And the Pursuit of Happiness, which was a great experience.
Meanwhile, I had started my screenplay and postproduction consulting company Su-City Pictures East, was a writer-for-hire on a dozen features, and later began my teaching career. I’ve always been juggling and cobbling out different jobs so I could continue making my own projects.
Sadie: I’ve had a similar experience. I had a writing partner right out of grad school; we met at AFI. We did writing-for-hire projects and specs. We were planning to work as ghost writers or do punch-ups for other writers, but you know, life happens. I fell back on producing because that’s how I started in the business working on music videos and other projects. I’ve also written things for other people, done script consulting; all of this helps finetune your craft.
Susan: What was your experience with writing spec scripts?
Sadie: It was a whirlwind coming out of an AFI, getting approached by agents, managers, and production companies. I was a young 20-something kid who didn’t know what she was doing. Either I was overthinking these opportunities, or I would be scared of turning something in that I didn’t think was perfect. In hindsight, it was never going to be perfect. Just turn it in, they want to read it.
Susan: It’s hard not to get one’s own way. There’s also that important aspect of following one’s own gut. Do you have an agent now?
Sadie: Not at the moment. I had a talent manager who hip-pocketed me. He had brought me on for a project and I wrote a short film based on an idea he had, and I worked with him on developing projects as a vehicle for talent. I was at AFI at the time, and I had so much schoolwork that I chose AFI over going down that path. It was a great learning experience because I was writing stuff that was going to actors to read and getting feedback.
After AFI, I was a producer of an independent feature documentary, I put all my creative focus and energy into that for about six years and put everything else on the back burner.
Susan: How did you get involved with Script magazine?
Sadie: I was in a writers’ group, and a friend there told me about a sales associate job at The Writers Store when it was a brick and mortar. Years later, Jeanne, who had been running Script for almost a decade, reached out to me and said she was looking to move on to Pipeline Artists. I never saw myself writing articles, running an online magazine, and running the show in this way.
You wrote for the magazine when it was an actual physical publication?
Susan: Yes. And, for the Writers Guild publication Written By.
Sadie: How did that come about?
Susan: I had spoken on a couple of panels for the Writers Guild, and they asked me to write some articles for them, which led to other freelance writing gigs. I then wrote two screenwriting books. Like you, I never saw myself writing for publications, but personal circumstances prompted me to discover unexpected opportunities.
Film Festivals Pros and Cons and Choosing What’s Right for You
Sadie: What are some key things to really focus on when entering?
Susan: Obviously it’s more advantageous to have your work seen in person at a festival, but online festivals can also widen the viewership and draw attention to you as a filmmaker and continue that networking and word of mouth going.
If it’s a newer festival, I question if it’s worth the submission fee. I also look at who the judges are. Having been a judge at festivals over the years, generally, the first-round judges are students or interns and not necessarily the filmmakers and executives you hope will see your work.
I use FilmFreeway, as well as other lists that focus on experimental films. What about you?
Sadie: I used FilmFreeway for this last short. It’s great because it does give you many filters or criteria. But it’s also dangerous because they’ll spam your inbox, and it can get expensive quickly.
My criteria is not the prize money. I also look at who’s judging and if there are any judges, is the festival going to be in person, and how long has the festival been running? Do I know other filmmakers who have been to the festival? Is it worth going to?
Everyone wants to get into Sundance or South by Southwest, but it’s such a different ballpark. Generally, you need some money behind the film, and/or an A-list actor or someone with a name to really get you that visibility. There are a lot of great filmmakers out there who don’t have that access and I think they should all be included.
Susan: I agree. Why do you think things have changed?
Sadie: Some films are categorized as independent but then you look at the list of producers and there are big names or they’re affiliated with Netflix, for example,
I made my film We’re Goodduring the pandemic with an incredible cast and crew.It’s about a chronically content couple that realizes they have never had an actual argument and feel their relationship is lacking. A shocking turn in their evening leads to them exposing their secret feelings.
Courtesy Sadie Dean
I learned that my movie was too long at 14 minutes. It should have been 10 minutes or less because I want the actual opportunity to screen at a festival – they’re looking at programming running time. Programmers may say, ‘We liked it, but we just didn’t have room because we can put four other movies in the slot. And that’s just better for us. You know, but good luck with your movie.’
We got into the Austin Revolution Film Festival. One of my producers had screened there before and said you’re going to love it. It’s just a great atmosphere. Super independent. I thought, ‘Oh my God, these are my people.’ There are people from all walks of life, people who are working in the industry or not, and they’re making great art as filmmakers.
The festival director said it’s not about winning the prize, it’s the people you’re going to meet here and hopefully, walk away with. The biggest prize I got was meeting at least 10 new filmmakers that I’m now in touch with. I’m already helping produce a short film. I’m rebuilding that filmmaking tribe. And with these people, we can hold each other accountable.
Go to the festivals where you can find that community, who are like-minded and not there because they want to take a photo on the red carpet and with the hopes that they’ll win first place.
Susan: For us, it is a labor of love and our passion. For my recent feature-length documentary essay Inaugural, which received a SUNY Purchase Faculty Support Award, it’s challenging to find venues because it is a niche project; I was well aware of that when making it, but it didn’t stop me. It means hustling meetings and as in the studio system, it’s a revolving door of executives and curators.
Sadie: For a lot of people, they think finding success happens overnight. It’s ten years, if you’re lucky enough to get anything up and out and finding those eyeballs to see your work. There are so many opportunities, but there’s also the question of who do you go to and who do you trust? You don’t want to put all your eggs in the basket of one person who might be gone tomorrow.
The Day Job
Sadie: I find myself very fortunate that I get to work at Script and talk to filmmakers and still have my foot in the door, and being educated about what’s happening in the industry daily, and what films or TV shows are coming out and who’s who, and then the networking part of it. Talking about creative pursuits with other people and what they’re doing and their process, is all really inspiring.
Susan: For me, I’ve been fortunate that my steady job continues to be teaching screenwriting and film at universities. It’s also kept me in the film community, and it’s been wonderful to see many students find creative and personal success over the years.
Your editor-in-chief job encompasses a great deal!
Sadie: I have my editorial calendar, organizing what the contributors are doing, when it’s going to be turned in, and budgeting. I put the pieces in, edit them as needed. I get them into the system and schedule them. And then there’s the admin work behind the scenes. There’s also a lot of marketing that I do in terms of building our newsletters, talking to other organizations and fostering partnerships with them, and then also running The Writers Store. There’s a lot happening that feeds into what Script is doing.
I’m also conducting interviews, watching screeners, or prepping for an interview. And I’m dealing with publicists and scheduling interviews with their clients.
Susan: It’s a lot. There’s also the other element too, which is not only screening the films, but doing pre-interview background research about the filmmakers and their projects.
Who inspired you with the interviews that you’ve done for the magazine?
Sadie: One that definitely jumps out is Jonah Feingold who made Dating and New York. I interviewed him during the pandemic. I told him I wanted to get back into making films and he said in a nutshell, ‘Set a date, then start telling people when you’re going to make your movie, and then it becomes reality. Then these people are asking you next time they see you how your film is going. And then people with whom you might want to work you reach out to. They’re now holding you accountable for following through.’ I thought OK, I’m going to try that out. So, I set a date and started telling people I’m making this movie. And then I realized, I guess I have to do this thing. I took that to heart and ran with it.
Italk about the writing process with many filmmakers and try to apply it to my writing and see if that sticks. Monique Matthews had some great advice about approaching her writing routine. Which is she’ll stop writing a scene halfway through and save it for the next day – it’s a motivation to keep going the next day. It was a no-brainer. Why haven’t I thought of that? I’ve been doing that every morning, I have my next scene ready to go. I take these nuggets from other filmmakers that have helped a lot.
Sadie: For both of us we have that background of being through this pipeline and pulled in and pushed out in so many ways and learning from it, and we can speak to that. We have that shorthand with other filmmakers who are like, I see you, I get what you’re trying to do with your work, and let’s talk about it.
December 18, 2023 / sucity / Comments Off on Susan’s Interview with ‘South of Hope Street’ Writer and Director Jane Spencer for Script Magazine
September 2023
Writer and director Jane Spencer, an expat American independent filmmaker based in Zurich, Switzerland, talks about her four features and her decades-long career.
Fresh off her award as a filmmaker from Producers Without Borders at the Venice Film Festival 2023 for ‘Auteur and Poetic Filmmaking’, I spoke with writer and director Jane Spencer, an expat American independent filmmaker based in Zurich, Switzerland, about her four features and her decades-long career.
Jane Spencer receiving Producers Without Borders Award at the Venice Film Festival 2023. Photo courtesy Jane Spencer.
KOUGUELL: Congratulations on your recent award at the Venice Film Festival.
SPENCER: It was quite a surprise and a great honor.
KOUGUELL: You are a fiercely independent filmmaker who made a conscious decision to not work in the studio system.
SPENCER: My pieces are so personal; it’s very hard for me to work for the studios. I tend to be a loner as to ideas and what I want to make. I am moved by European cinema, which tends to be auteur cinema, including Wim Wenders and Agnes Varda, as well as American filmmakers like Tom DiCello and Alison Anders who came up in the 1990s.
KOUGUELL: You studied in the United States, including the Actors Studio Playwrights/Directors Unit in New York City and film at New York University. How did these experiences influence you?
SPENCER: At the Actors Studio I was inspired by the legendary directors Elia Kazan, Arthur Penn and Joe Mankiewicz, among others. I remember Kazan saying that writers should direct their own movies and I took that to heart. When I was at NYU, Spike Lee suggested we shoot a three-minute teaser and to make it look as good as we can; that’s how he made his first movie.
Jane Spencer. Courtesy Jane Spencer.
So, I wrote Little Noises, which took one year. I worked with writer Anthony Brito, who came up with the idea, and Jon Zeiderman and I wrote it. I took the project to producer Sandra Schulberg who liked the teaser and script, and thanks to her, got it to Henry Jaglom who had formed his women’s film company. Henry got the film off the ground and gave it to producers who raised the financing.
KOUGUELL:Little Noises premiered in 1991 at Sundance and was nominated for a Grand Jury Prize. The making of this film was quite a journey for you.
SPENCER: I consider Little Noises the boot camp for everything that could happen – happened. It was a difficult time; I didn’t have much power on the film and the producers chopped up my movie. I am grateful to them for raising the finance and trusting me to shoot it, but unfortunately they were also new producers and they mishandled the film totally, and did not look after it and still don’t. I am currently trying to get it back so that it can have a new life after the abysmal thing they pulled at Sundance; my film was accepted to Sundance on my rough cut. They recut several ‘key’ sections of it without my permission, which – in my opinion and many others’ opinions – harmed the screening. I did get it back and I recut it properly and we got some very good reviews and a theatrical release based on my new cut, which was based on my original rough cut. I continue to be so proud of Little Noises; both Crispin Glover and Steven Schub gave brilliant performances.
After that experience I became a producer on all my movies. As a director, at least in the American system, once you option your work, you give up your copyright, unless you’re a Scorsese, and even then, they can cut it, put in different music, and so on.
KOUGUELL: You also write and direct your own plays.
SPENCER: I worked in theater in England, Los Angeles and New York to recover from my first film, and then worked with theater producer Steven Adams, who now works with Spike Lee. I decided to take one of my plays, Faces on Mars, a dark comedy about a bunch of actors living in one room in Silver Lake and adapted it to a screenplay. It premiered at the Solothurn Film Festival in Switzerland.
KOUGUELL: In 2014, your next feature The Ninth Cloud premiered at the Raindance Film Festival in London. Let’s talk about that process.
The Ninth Cloud
A dark, existential comedy about a young woman trying to find answers to the meaning of existence. In London she runs into a pack of strange characters, from bohemian struggling artistes to monied British aristocrats with all their varying agendas, as she tries to help an impoverished immigrant child with a leg problem.
Behind the scenes shooting with Michael Madsen on The Ninth Cloud. Photo courtesy Jane Spencer.
SPENCER: This experience taught me how to produce movies. First I shot a trailer for the film, and from that raised the financing independently and did the casting, and so on – it took about four years. After Raindance, the film went on to the Shanghai International Film Festival (CN), La Femme Film Festival (Los Angeles), and the Glasgow Film Festival in Scotland. The film garnered great reviews and was released in April 2018 in Europe and the UK and can be seen on iTunes and Amazon Prime in the USA and UK.
KOUGUELL: You have your own production company in Zurich.
SPENCER: Mostly I work through my own company Ward9 Productions, with my partner Marc Holthuizen. Once in a while, I will work on other people’s scripts. Right now I’m working with Robbie Wolliver and his wife Marilyn Wolliver on Robbie’s award-winning play Folk City, which I’m very excited about.
KOUGUELL: Let’s talk about your fourth feature, your new filmSouth of Hope Street, which you described as a fable-like story about contemporary times.
South of Hope Street
In 2038 earth reaches a cosmic tipping point and enters a mysterious universe. To perpetuate the old order, people hide behind a gigantic wall and engage in wars. In this dystopian wonderland, Denise (Tanna Frederick) walks on thin ice to believe in her future, spurred on by Tom (Judd Nelson), a caretaker, who promises that a renaissance is on its way. Also starring William Baldwin, Jack McEvoy, Patricia Sluka, Meredith Ostrom, Pascal Ulli, Angelo Boffa, Asser Yassin, Gianin Loffler, Barry O’Rourke and Michael Madsen as Benjamin Flowers.
Behind the scenes shot of the shoot in the Swiss Alps, with all of the crew, Jane Spencer in chair and Judd Nelson about to shoot a scene.
KOUGUELL: Similar to some of your previous projects, this began as a short film.
SPENCER: Yes, the short starredTanna Frederick and Hilmir Snaer Gudnason of 101 Reykjavik. We shot the feature in Switzerland in Zurich and in the Swiss Alps of Maloja, near St. Moritz. We all stayed at the giant empty hotel The Maloja Palace; and the actors recalled that it was like The Shining. (Jane laughs). The cast and crew were wonderful.
KOUGUELL: You mentioned that you needed a 1960s soundtrack because there is a time traveler in your script. Perseverance paid off; you didn’t let your low budget stop you.
SPENCER: First, we went to some big name artists like Mick Jagger but we were blocked by the record companies who wanted more than we could afford. A producer friend then approached Donovan’s music publisher, showed them clips of the film where we wanted music, and they liked the clips and gave us a deal. Donovan was very kind.
KOUGUELL: South of Hope Streetwas recently picked up for distribution.
SPENCER: Buffalo8 Films is our U.S. distributor. We are planning on a Los Angeles premiere but we are waiting for the strikes to be over.
KOUGUELL: Tell me about the projects you currently have in development.
SPENCER:The Red Weather is being produced with FilmsInTuscany and The Velvet Gentleman, the story of the eccentric French composer Erik Satie, who will be played by the great French actor Jean-Hugues Anglade.
July 11, 2023 / sucity / Comments Off on Susan’s Interview with with Internationally Acclaimed Director Alice Troughton on her Debut Film ‘The Lesson’
I’ve always looked to explore genre where the female gaze has been historically excluded: Science fiction, horror, Westerns, and now film noir with this gift of a savage and subversive script capped with a dynamic female-driven twist.
Alice Troughton
In a wide-ranging discussion, I spoke with internationally acclaimed director Alice Troughton about her film The Lesson, which had its premiere at the 2023 Tribeca Film Festival. Troughton led, directed, and executive-produced Baghdad Central (2020) for C4, Troughton is also known for her work on the award-winning shows The Living and the Dead, Cucumber, Tin Star, A Discovery of Witches, and Doctor Who. In 2022 Troughton completed work on The Midwich Cuckoos for Sky.
About The Lesson: Liam, an aspiring and ambitious young writer, eagerly accepts a tutoring position at the family estate of his idol, renowned author J.M. Sinclair. But soon, Liam realizes that he is ensnared in a web of family secrets, resentment, and retribution. Sinclair, his wife Hélène, and their son Bertie all guard a dark past, one that threatens Liam’s future as well as their own.
[L-R] Richard E. Grant as J.M. Sinclair, Daryl McCormack as Liam Sommers, Julie Delpy as Hélène Sinclair, and Stephen McMillan as Bertie Sinclair in Bleecker Street’s THE LESSON. Photo by Anna Patarakina, Courtesy of Bleecker Street.
KOUGUELL: You worked closely with producer Camille Gatin and screenwriter Alex MacKeith, as you stated, “to mine the dark corners and sultriness of the script which felt full of urgent questions: What do we do with art of monstrous men? How culpable are all parties involved in coercive control? Can we reclaim the film’s narrative from the traditional patriarchal noir archetypes? How does anyone navigate and survive the British class system?”
TROUGHTON: We didn’t want to be didactic. I’m not at all afraid of going on a polemic, but I think it’s necessary sometimes. I also think there’s always a way of catching flies with honey, making sure that the second-class status of women in the industry and in the whole world – and that includes women and women-identifying – that there is an inclusive feminism of mine; there’s nothing more important in my filmmaking than that.
KOUGUELL: This is the first feature film that you directed. Let’s talk about the transition from television to film.
TROUGHTON: First of all, I was very lucky as it was my first film experience. We all had toxic jobs and this wasn’t one. I feel that I was picked in turn by producers who wanted my vision. It all came from a show that I directed that won huge amounts of awards called Cucumber, which was by Russel T Davies, one of our finest writers.
There’s an affinity between my gaze and his; it’s just not the female gaze. We collaborated a lot of times; he’s the showrunner on Doctor Who. That experience allowed me to be free in my filmmaking, which is what my producers gave me on The Lesson. Obviously, Alex wrote this page-turner of a script. A lot of it is semi-autobiographical so it came from the heart. He’s also a complete wordsmith; his writing has his own style of acerbic wit and he’s a stand-up comic.
KOUGUELL:The Lesson is a contemporary noir that challenges the traditional definition of this genre.
TROUGHTON: We tried to subvert those norms. I think you can watch the film and have no idea about the noir archetypes. I wanted it to be just that fantastic Witness for the Prosecution rapport that you enjoy at the end of a good thriller. There’s also a meta-level of it, which you’re also subverting the traditional noir roles. If you are a noir fan and a noir filmmaker – there’s the femme fatale, the detective, the monster – those strong archetypes. We wanted to have fun with that.
KOUGUELL: Hélène’s character arc is quite an engaging slow burn.
TROUGHTON: Hélène is kind of mute. She’s not only mute around the dinner table, she’s mute in the way that the femme fatales were mute. She’s the object of desire; she’s identified through the gaze of other people, which is something obviously you’re getting into the semiotics of the gaze, something that is very noir identifying.
There is a really key and subtle moment, which is the moment that she breaks the gaze from being objectified, to returning Liam’s gaze and she looks straight at him. It is the moment that you realize that Hélène’s role is changing and that leads you to the moment to the end. She in fact is the detective. She isn’t the femme fatale. She’s playing the detective role and that always has been her role from the start.
[L-R] Julie Delpy as Hélène Sinclair and Daryl McCormack as Liam Sommers in Bleecker Street’s THE LESSON. Photo by Gordon Timpen, Courtesy of Bleecker Street.
KOUGUELL: Tell me about the shoot.
TROUGHTON: We had 22 days of shooting. It was a low budget. We needed efficiency. There was such a sense of play on that floor and joy, we all were exactly where we wanted to be to do that. There was extraordinary chemistry.
KOUGUELL: The music by Isobel Waller-Bridge was incredible and added an important layer of conflict that was referenced in the narrative.
TROUGHTON: I had heard her work on Emma and Fleabag, and when I met her we platonically fell in love. She was with the project from the very start, it was five years from the inception to the film getting made. What she’s done in the film is astonishing, it’s hugely dramatic and at the same time very subtle. The music is gorgeous and gives the film a vivacity. We were talking a lot about Russian composers like Rachmaninov, Borodin, and Tchaikovsky; they have circus and pomp and ceremony. They were great as influences.
KOUGUELL: There are other influences as well. You looked at the history of artist couples —Dorothea Tanning and Max Ernst, Lee Krasner and Jackson Pollock, Sylvia Plath and Ted Hughes – in which the male spouses and their notorious egos, garnered attention.
TROUGHTON: We looked at objectification, sexual politics, and the denigration of women in the arts to redress that balance.
KOUGUELL: The objectification of women on screen brings to mind Nina Menkes’s documentary Brainwashed: Sex-Camera-Power. The character of Hélène is watching the men and she was the one in power; she has agency.
TROUGHTON: Yes, and Hélène breaks that gaze. I watched Menkes’s film after I made The Lesson. In Brainwashed, Menkes quotes Agnes Varda: “The first feminist gesture is to say: “OK, they’re looking at me. But I’m looking at them.” The act of deciding to look, of deciding that the world is not defined by how people see me, but how I see them.”
Courtesy Bleecker Street.
There’s a point when we break the gaze of objectification. It is scored, but it is not scored as a big moment; it’s scored when Hélène returns the gaze, and that changes her from being objectified into the person who is doing the looking. Varda’s “I will look back at you” – that is exactly what Hélène is doing. That made me very happy when I heard that quote afterwards. It is about Hélène going: I can change the view, I can reclaim the gaze.
KOUGUELL: The theme of redemption is at the heart of The Lesson.
TROUGHTON: For me as a filmmaker, it is a particular interest of mine. I believe in redemption and I believe in a redemptive ending, and in an Aristotelian way of saying that drama is inspirational and cathartic and that you can also be inspired by redemptive endings. I like an ending with morality.
June 14, 2023 / sucity / Comments Off on Susan’s Interview with ‘The Graduates’ Filmmaker Hannah Peterson at the Tribeca Festival
Hannah Peterson generously offers insights into the development of her project from the writing and interview process to the remarkable changes that occurred in the editing room.
Mina Sundwall in THE GRADUATES. Photo credit Carolina Costa.
During the Tribeca Festival I spoke to Hannah Peterson, the writer, director and editor of her debut fiction feature The Graduates. Peterson generously offered insights into the development of her project from the writing and interview process to the remarkable changes that occurred in the editing room. Our in-depth conversation also tackled the tough subject of the aftermath of gun violence, and the decision not to portray violence on screen.
“While I was writing, I experienced a sudden personal loss when my younger brother died of gun suicide. The grief that I experienced through that loss, and the coming together of my family and community around it, became imbued into the fabric of the story and informed several of the choices I made in the edit.” – Hannah Peterson
Named one of the “25 New Faces of Independent Film” by Filmmaker Magazine, Hannah Peterson’s work has screened at Sundance Film Festival, MoMA, REDCAT, Tribeca Film Festival, and Slamdance Film Festival where she was awarded the AGBO fellowship for her short film, East of the River. She holds an MFA in Film Directing from California Institute of the Arts (CalArts) and a BA in Screen Studies from the New School. Prior to her work as a director, Hannah mentored under filmmakers Sean Baker and Chloé Zhao.
About The Graduates: A year after her boyfriend dies from gun violence, a young woman prepares to graduate high school as she navigates an uncertain future alongside a community that is searching for ways to heal.
KOUGUELL: From the inception of the script to the final cut, you were in a unique position as the writer, director, and editor, to convey the story you wanted to tell. This is an auteur film in the best sense of the definition. Tell me about the process.
PETERSON: When I set out to make The Graduates, I was interested in telling a contemporary story, a coming-of-age story in the American public school system. I set about interviewing high schoolers and recent graduates, and asked about their experiences, their fears, and the highs and lows of high school.
This is something I explored in my short films prior and wanted to explore in a feature. Nearly everyone I spoke to mentioned their anxiety about safety in their school and that on any given day something could happen. I was very struck by that. I couldn’t tell a contemporary story without touching upon that throughline. I wanted to explore what it was like when the cameras left and the resources left, and how it was really a community left to navigate the circumstances.
Director Hannah Peterson. Photo by Nadia Sarwar.
In terms of the script, I was writing it as a vehicle for me to direct. I always see the script as a more malleable instrument. There were scenes that I knew I wanted to cast real people in or cast locally. For instance, the grief circle and the basketball team. I knew in advance before we went into production I wanted those to be real people, actual high schoolers, sharing their actual stories, their actual hopes and dreams. I was leaving space for those moments to be happening organically, and the rest to be scripted.
In the process of production things obviously changed as they do. As you mentioned, to be the editor, I had a new and added perspective. I certainly did a lot of rewriting in the edit of the film. The script was originally structured in chapters, Chapter 1 was Genevieve, Chapter 2 was Ben, and Chapter 3 was Jon. It worked so well on paper and I had great responses to the script and we shot it that way, but it wasn’t until the editing room – it might be a testament to the performances all being so powerful – but I knew we had to be with all these characters from the start to finish of the film. Of course, this required some pulling from Act 3 to Act 1, and reordering a lot of things and that was really an activity of discovery. I really found the film when I made that decision to do that.
KOUGUELL: You just mentioned about the interviews you had with actual high schoolers. Please elaborate about that process.
PETERSON: I was lucky to learn about writing and directing from Chloé Zhao and Sean Baker. Both of them spend a lot of time on locations where they will be filming and speaking with individuals who are living the experience of the characters. That creates a fluidity between the screenwriting process and the casting and location processes; that was something that was influential in all my work.
On this feature, I set up as a writer to be a listener. The students who I interviewed were just any students who were willing to speak to me. I actually saw a photojournalism article in the New York Times called “Inside Santa Monica High”. There were these candid photos taken by Nico Young, who was a junior at the time. I was so moved by the photographs. I reached out to Nico and asked him to meet the subjects of his photographs. In my interviews, I asked students what high school is like. The students shared their journal entries and told me private moments in their lives, and through those conversations, I got to hear about their anxieties and about safety in their schools. That became the most substantive part of these conversations.
KOUGUELL: There is no antagonist, except for the gunman who remains unnamed and unseen on screen. This was a powerful choice not to give attention to him, which is often the case in the media.
PETERSON: I think the first and easiest choice I made was not to show the act of violence itself. This created a lot of creative challenges because you’re basically skipping over the inciting incident of all these people’s lives. When you’re talking about trauma and grief, they’re not actually linear experiences and when you’re in that situation, the world is antagonistic. You don’t necessarily need massive conflict in every scene because your life is conflicted. I really decided to trust in that and in the characters and situate the plot around these private moments of grieving rather than on traditional plot points or inciting incidents.
KOUGUELL: You mentioned this feeling of agency that your main characters had, and how they are on that journey to find that. There were also moments of levity that were important and not only drove the narrative forward, it made the drama that much more impactful and moving.
PETERSON: It’s always really important when talking about things as heavy as death, grief, and trauma, to lever that with moments of levity. When you’re spending time with young people it’s inevitable because people don’t always talk about what they’re feeling all the time. A lot of it is underneath; a lot of it is mundane, just natural levity in the way young people express themselves, especially in the privacy of each other’s company that I wanted to make sure was part of the fabric of this film.
KOUGUELL: You allowed the characters to breathe in the film and spend time with them, not cutting away from them too quickly. This is such a difficult subject matter and I imagine with the whole process of treading that fine line, questioning: is it too much, is it too little? How did you find that balance?
PETERSON: I cared so much about the characters and cared about the actors. Each character was emblematic of a multitude of conversations I had along the way about survivors with high schoolers and with youth. It was so important for me to be able to do those people justice and to honor them.
When I was editing it, thinking about the frame and the camera, I wanted it to feel like I was there with the characters and I didn’t want to leave them until they were ready to be alone. It drives the rhythm of the script. In the moment that a character could be strong for a minute, we can go to someone else, and when that person needs someone to be there we can go there as audience members.
KOUGUELL: The film concludes on a hopeful note without feeling contrived or tied up in a neat bow.
PETERSON: I’m really glad you got that. I wanted people to take from the film the conversations I had with survivors during the writing process. Throughout the conversations I was moved by the sense of agency and urgency and altruism and that while this generation was rooted in grief, I found it really hopeful. In the film there are no grand gestures; there is a subtle rebuilding of a sense of self that really comes when each character starts to turn towards each other. For me, there is so much hope in that.
I hope that this film provides a safe space for people to process feelings about gun violence in our country that can exist outside of the reactive cycle of the news media and to connect with one another, because I believe that connection and conversation can be the precursors for action.
March 7, 2023 / sucity / Comments Off on Susan’s Script Magazine Interview: ‘All Quiet on the Western Front’ Writer and Executive Producer Lesley Paterson On Adaptation, Collaboration and Perseverance
Lesley Paterson, along with her co-writers Ian Stokell and director Edward Berger are nominated for Best Adapted Screenplay and Best International Feature Film. She is also an executive producer of the film.
Many writers and filmmakers often say that getting a movie made is like running a marathon. For screenwriter and producer, Lesley Paterson, this hits close to home; she is a world-champion triathlete.
Lesley and I spoke two weeks after All Quiet on the Western Front swept the BAFTA awards, winning seven, including best film, director and adapted screenplay — more than any other non-English-language film in BAFTA history – and less than two weeks before the Oscars. Lesley, along with her co-writers Ian Stokelland director Edward Berger are nominated for Best Adapted Screenplay and Best International Feature Film. She is also an executive producer of the film.
This is the first time Erich Maria Remarque’s antiwar classic novel has been adapted for the screen in its original German. The story follows teenager Paul Bäumer as he enters the army as an enthusiastic recruit and quickly becomes disillusioned by the horrors of the brutal, futile fighting he encounters. Soldiers such as he are expendable pawns to officers safe from the battlefield and who demand the fighting continue even as armistice is only hours away.
Felix Kammerer as Paul Bäumer in All Quiet on the Western Front. Courtesy Netflix/Photo by Reiner Bajo.
KOUGUELL: You and Ian Stokell first optioned the book in 2006. I understand that you used your race winnings to keep the project afloat over the years, even mortgaging your house at one point to hold onto the rights.
PATERSON: Yes. It ended up being 16 years and two months until we premiered it.
KOUGUELL: The book has been adapted twice prior into movies. Why did you feel the need to do another adaptation?
PATERSON: I read the novel when I was in school. For me, it was the dramatic essence of the betrayal of the youthful generation and it hit a chord. Being from Scotland and that underdog mentality, fighting against the upper brass. I connected to that. When I read it again in 2006, I had gone through an undergraduate in drama, and then a master’s degree in theater and film, and I met Ian at that point, and we were doing various pieces together and we directed some scripts. We were in a bookstore together when we saw the novel on sale and we looked at each other, and thought, there’s not been a film made for several years. (Ian was in the British Army in the 1970s, including a deployment in Northern Ireland and the military, his grandfather fought in the war.)
Lesley Paterson
After reading the novel, we had some ideas about how we would want to do it and then we went about to see if anyone had the rights. We’re kind of mavericks in that regard, and you’ll gather that by my athletic career, we thought we’re on the outside, but let’s have it a go. Lo and behold, no one had the rights. It was shocking. Normally studios or producers had rights, and we pitched them and we were lucky enough that they said yes, and my husband and I scrounged together enough money to pay for the option rights.
For us we felt that we could bring something new to this story; it was the historical context because they didn’t delve into that in previous films, which were more direct translations of the novel. We thought it was fascinating because it was not something we learned in our history, especially coming from the winning side, and so we thought we had something different to offer, and then we embarked on adapting it.
KOUGUELL: How did your adaptation process begin?
PATERSON: We bought multiple copies of the novel and delved into it. We tore it apart, put different scenes on the wall, dug into the thematic essence of what the author was trying to say – that was our guiding light. We did a lot of research all around WWI, from the German side, the French side and British side – the whole landscape of the war, that formed basically how we did the adaptation. Then of course we did multiple drafts, there were completely different stories.
We created a dramatic throughline that could carry the narrative with some urgency that the novel does not have because the novel is almost like excerpts of a diary.
KOUGUELL: You mentioned that rather than a literal translation of the book, it’s an emotional translation. Please expand upon that.
PATERSON: When you look at a novel it’s very difficult to see how you can make it cinematic for an audience. We had to drill down into it, looking at the key elements and thematic premises of the book. For Ed, myself, and Ian, it was telling it from the German perspective, and having that sensibility; there are no heroes, war is not an adventure. We wanted the audience to feel that total devastation, feel the arc of that patriotic fervor to the numbness and animalistic tendencies at the end.
KOUGUELL: How did your collaboration process evolve?
PATERSON: When we first optioned the novel it would have been nearly impossible to get this project off the ground because you could not raise the financing for foreign language films. That’s why we initially decided to do it in English with German accents. Furthermore, WWI was not a hot topic to cover; it was not an American war. Cinema was very much about America back then. As the landscape changed, streamers came in, local language was much more regarded, such as Parasite won best picture and foreign film.
Luckily we held on to the option long enough that eventually producer Malte Grunert got the script and he was doing a project with Ed Berger. And they both said, this needs to be told in the German language. We loved Ed’s vision and we thought it was brilliant. We knew this was the right path, given we just spent 14 years with various producers, directors, and money on and money off.
We did a couple of passes on the script together and then Ed, and rightly so, said I need to do my own pass on the script and I need to infuse it with that German sensibility. That was a wonderful learning curve for us as writers; I think Ian and I brought the outside in perspective which gave it that historical context and something unique. But then Ed came on, and gave it that inside-out perspective; the way Germans talk, the way they interact, that sense of shame, and their culture about previous wars.
Ed did his pass on the script in English, then gave it to us, and we had some collaboration on that, and that was translated into German. Because Ed is a co-writer and director, it was somewhat seamless. We are also executive producers on the project, and you put your producer’s hat on and say, if you trust in this director, let him do what they need to do to bring it to the screen.
KOUGUELL: It’s certainly a timely film given all that is happening today.
PATERSON: It’s as relevant today as it was then. As the years rolled on, interestingly, that’s what makes this novel so powerful is the essence of it; the everyman, the betrayal of a youthful generation, the destruction of war, the senseless killings.
KOUGUELL: What tips do you have for writers working on adaptations?
PATERSON: If you are adapting on a basic level, first make sure you have the rights and a good lawyer with the right contacts. Second, read it multiple times, get the essence of it. Adaptation doesn’t mean it needs to be a lesser translation, it’s not a documentary. View it through your own lens and your own experience. Be streamlined with what you want to say; if you say too many things it becomes about nothing. Finding that throughline and finding your angle is really your key.
Continue to go back to the novel. It’s also important to put it down and go back to it. Another key is research, this will spawn more ideas. Don’t do research just for a historical piece there are so many things that can spawn ideas.
KOUGUELL: What has this experience of bringing this film to life brought to you?
PATERSON: It’s given me confidence to follow my dreams and to never give up when people are saying no. You must keep going and stay true to your why; Why is this story important for you to tell? If you can drill down on that, then it’s going to give you the passion to keep going.
All Quiet on the Western Front is now streaming on Netflix.
October 22, 2022 / sucity / Comments Off on Susan’s Interview with Trailblazing Filmmaker Nina Menkes About Her New Documentary ‘Brainwashed: Sex-Camera-Power’
Filmmaker Nina Menkes discusses her thought-provoking and illuminating documentary ‘Brainwashed: Sex- Camera-Power,’ which explores the sexual politics of cinematic shot design, showing how this visual language of cinema connects to both severe employment discrimination against women – especially in the film industry – as well as to the epidemic of sexual harassment and abuse that was exposed through the #MeToo movement.
Still from Brainwashed: Sex-Camera-Power. Photo courtesy BrainwashedMovie LLC.
Considered a cinematic feminist pioneer and one of America’s foremost independent filmmakers, Nina Menkes has shown widely in major international film festivals and museums. Honors include a Los Angeles Film Critics Association Award, a Guggenheim Fellowship, two fellowships from the National Endowment for the Arts, an AFI Independent Filmmaker Award, a Creative Capital Award and an International Critics Award (FIPRESCI Prize).Menkes holds an MFA in Film Production from UCLA , is a directing member of The Academy of Motion Picture Arts and Sciences and is a member of the faculty at California Institute of the Arts.
In our wide-ranging and eye-opening conversation over Zoom, Menkes and I discussed her thought-provoking and illuminating documentary Brainwashed: Sex- Camera-Power, which explores the sexual politics of cinematic shot design, showing how this visual language of cinema connects to both severe employment discrimination against women – especially in the film industry – as well as to the epidemic of sexual harassment and abuse that was exposed through the #MeToo movement.
Nina Menkes. Portrait by Ann Johansson.
This social issue documentary uses over 200 film clips from 1896 through the present and includes 23 interviews with women and non-binary industry professionals, including Julie Dash, Penelope Spheeris, Charlyne Yi, Joey Soloway, Catherine Hardwicke, Eliza Hittman, Rosanna Arquette, and Laura Mulvey.
This must-see film should be included in the curriculum for all filmmaking, screenwriting, and cinema studies students.
KOUGUELL: Let’s start with your personal background. Your mother’s parents were German Jews who fled Hitler’s genocide, settling in Jerusalem in 1933 and your father’s Austrian Jewish family perished in the concentration camps. This type of trauma, particularly for you as a first-generation American, forever remains. How does your specific background of family trauma and the violence of objectification inform your work?
MENKES: I’m so glad that you brought this up, no one else has brought it up. I happen to think it’s really key. My mother was a baby in 1933, and her parents got out of Berlin and she was raised in Jerusalem. My father’s whole family were all gassed to death. My father was taken as a child, in a secret rescue to Jerusalem in 1940. My parents got married there and later immigrated to the United States.
This experience obviously impacted my family. The fact is that they [researchers] found that trauma is transmitted via DNA, I grew up with the idea that systems of power can be corrupt, and systems of power that are supported by the majority does not mean they are right.
I grew up in a household that rejected the idea that popularity is a sign of moral greatness on a very deep level. A second important point to this, the Jews before they were murdered in the Holocaust, were objectified by the Nazis. You cannot treat another person in the way that the Jews were treated in the concentration camps if you think of them as full-on human subjects. You have to denigrate them in your own mind before you can even do these actions; this has all been extensively documented.
I’m not trying to make an equivalency between what happened in the concentration camps and sexist representation in film, there’s a big gap there. There is a certain level of intersection with the idea that objectification is not a beautiful thing, and objectification is tied to violence. Extensive research has shown that women who either consume objectifying media or self-objectify as it’s done on Instagram, every minute of the day, has been correlated to body dysmorphia, eating disorders, and higher levels of shame than those who don’t do it, and a higher acceptance of sexual harassment, and even sexual assault. This whole thing of objectification is not just fun and games.
KOUGUELL: Brainwashed stemmed from your lecture presentation “Sex and Power: The Visual Language of Oppression” which was at Sundance’s Black House in January 2018, for the launch of Gwen Wynne’s Eos World Fund. Tell me more about this and how it turned into this film.
MENKES: There are a lot of differences between the two. The lecture had 10 film clips and this film has 200, and millions of other differences. The idea was, how can we bring some of these concepts that some people in the PhD film theory world discuss, to film watchers who are not exposed to those ideas?
For those people who know my other work, it tends to be slightly towards the art film and avant-garde film direction. I certainly never thought about the audience when I made my own feature films. This documentary was about how can we prove our case and have the film be fascinating and interesting for sophisticated filmgoers, as well as some person who is not focusing on film as a profession, but a film watcher, which is kind of everybody.
That was challenging, and based on reactions, some people seem to love it. We’ve shown it in all the major film festivals and have gotten some amazing reviews, and we’ve also been attacked, and interestingly we’ve mainly been attacked by other women. People are very invested in their feelings about cinematic masterpieces.
KOUGUELL: Would you say that this lecture served as your script and/or outline for this documentary?
MENKES: The lecture is the core thing that we jumped off of but making the film I worked closely with the editor and creative producer, Cecily Rhett. In fact, I’ve been telling imdb.com to take my name down as writer. I don’t really claim to be the writer, but in a documentary film, the editor is in many ways the writer of the film. I was there for every second of the journey and participated in the decisions. There was no bona fide script as with most documentaries. Cecily had an amazing program called Dynalist, which we used to organize and structure our ideas. It was very collaborative.
Nina Menkes and Rita Hayworth. Photo courtesy BrainwashedMovie LLC.
KOUGUELL: In your own experimental narrative films, you worked with a small crew. How did that change, if at all, when working on this documentary?
MENKES: It seems like a bigger crew when you look at the credits, but each shoot didn’t have that many people. The overall project was more elaborative, in terms of making my narrative films, which I write, produce, edit, and direct.
This film was more complicated on so many levels. Regarding editing, I needed a pro editor who understood the deep issues that I am laying down here and knows me and my work and has background in commercial narrative and documentary film. I was lucky to get Cecily Rhett who had all those qualifications, I’ve known her for a long time, it was a very collaborative process.
There were a lot of people involved in the film research, and then there was the legal part, you have to clear every single clip through attorneys. There was a lot of attorney interaction and the attorney actually influenced a lot of our decisions, because he would say, ‘This clip won’t fly for fair use, you have to find another clip.’ Or he would say, ‘You need to include voice over because it won’t fly for fair use.’
The postproduction was complex, with all these film clips. There was no time code; every single picture and sound was hand matched by Jim Rosenthal, our brilliant postproduction producer.
With the score, I never worked with a composer before. It was challenging for me because I always did the sound myself on my films. Composer Sharon Farber did a genius job.
All those things made it a bigger production. A lot of the interviews were over Zoom because we were in the middle of the pandemic. For example, it was me on Zoom and a team in Atlanta when we interviewed Julie Dash.
Menkes: I was more reassured by seeing [Agnès Varda’s] Vagabond and [Chantal Akerman’s] Jeanne Dielman(which Menkes didn’t see until after making her film Magdalena Viraga) that there was someone else out there in the world who had similar feelings.
Kouguell: During production, the Brainwashed team reached out to representatives of almost all the living directors whose work is included in the movie, including Sofia Coppola, Martin Scorsese, Ridley Scott, Spike Lee, Quentin Tarantino, and Denis Villeneuve among many others, to invite them for on-camera interviews. They declined the opportunity to participate.
Since the completion of this film have you heard from any of them?
MENKES: No not yet – the film is coming out on Friday.
The film will open in New York City at DCTV downtown and in Los Angeles at the Laemmle Theaters Friday October 21st with a national rollout to follow.
July 8, 2022 / sucity / Comments Off on Susan’s interview with Camera D’Or Cannes Film Festival Winner, ‘Murina’ Writer and Director Antoneta Alamat Kusijanovic
My interview with Camera D’Or Cannes Film Festival Winner, ‘Murina’ Writer and Director Antoneta Alamat Kusijanovic
Gracija Filipovic in MURINA. Photo courtesy Kino Lorber.
Kusijanovic generously shared her passion for telling the truth about characters and conveying cloaked violence in her film Murina.During our wide-ranging talk we delved into the themes of human nature and the physical and dangerous beauty of nature of water and the land, in conflict with the chauvinism, power, and a teen finding agency.
Julija is like the murina, the moral eel, an animal that will bite its own flesh to break herself free. — Kusijanovic
About Murina: Tensions rise between restless teenager Julija and her oppressive father, Ante, when an old family friend arrives at their Croatian island home. As Ante attempts to broker a life-changing deal, their tranquil yet isolated existence leaves Julija wanting more from this influential visitor, who provides a taste of liberation over a weekend laid bare to desire and violence.
Kouguell: Let’s start by talking about how your short film Into the Blue evolved into Murina. As you mentioned, the feature is not an expanded version of the short. Please elaborate.
Kusijanovic: It’s the same actress and the same character’s name. I wrote the feature months after the short premiered. It came from my feeling that the actress was entering this very sensitive moment in her life and confronting that mentality we both grew up in; it’s a delicate moment of noticing changes both emotionally and physically. I had an opportunity to capture it forever.
Kouguell: You co-wrote the script with Frank Graziano. Tell me about that.
Kusijanovic: We met at Columbia University. We decided to join forces. I had already written one-to-two drafts of the script. Frank brought the male perspective; the ‘second half of the brain’ to the movie. He’s a really great collaborator.
Kouguell: One of the most compelling story aspects was the ever-shifting triangulated relationships between your main characters.
Kusijanovic: It was aninteresting process writing these characters. They are real people, they are toned down for the screen, In reality, in Croatia and in many countries, sometimes the reality is too harsh for the screen and I did have to make it more accessible, something not so repulsive to have you stop watching the film.
Ante, the father in Murina is 45. It is the age, where many men feel they haven’t accomplished something; they feel it’s never going to happen again and that’s what defines their life and why a lot of problems surface at that time. Ante, having a friend, Javier, who is such a powerful man next to you, to mirror your success, is a complicated dynamic between the father and Javier. And then having a woman who could still choose between any of them. From one side she has a dilemma – one man is seemingly free of his demons and on the other side is the man she created life with. To be the daughter, Julija, in that triangle of the three lovers; she can see everyone’s weakness — they’re all grown up kids, very harmed; they move by ego, guilt, and remorse.
Kouguell: Without revealing any spoilers, and in simple terms, Julija seeks independence in order to survive.
Kusijanovic: Julija has to grow up very fast; certain things she assumes and very easily jumps to conclusions of what she sees and thinks she understands and certain things she needs experience to understand. It’s complex because her mother and father do have their reasons why they became this way.
It was very fun to write it. We had to build these four characters equally strong and equally damaged and equally troubled with strong desires and tormented between many possible choices.
Kouguell: The cinematography was incredible, particularly the underwater photography. Tell me about your collaboration with cinematographer Hélène Louvart.
Kusijanovic: Hélène’s amazing. She makes very complicated things very simple, and that’s her strength. She comes from the mountain and I come from the sea. We had very opposite and very compatible views of this world. She is very interested in human behavior and motivation.
We first started with characters, then the space, then the emotional and the oral rhythms, then came the light and shots, and the rest.
We wanted the characters to feel isolated, claustrophobic, tormented – even when they are in wide spaces. Even in the wide shots they feel even more locked in. Under the sun, there is no shade, nowhere to hide. Even in the apartment and on the rocks, this feeling had to happen. They were like raw meat simmering in the sun.
Danica Curcic, Gracija Filipovic, Leon Lucev in MURINA. Photo courtesy Kino Lorber.
Kouguell: The emotions and rawness escalated in each scene.
Kusijanovic: There’s a level of agitation. The postcard settings are a context that even in these beautiful sunny places, violence happens. I don’t like to reserve the violence for the hidden dark alleys. Violence happens in the open, among many people and outside in the sun, at a holiday location, the beach.
Kouguell: Like the party confrontation in front of the guests.
Kusijanovic: Yes. Everywhere. The violence is always cloaked — into fun, into a so-called mentality. It’s not ‘mentality’ it’s f-ing violence and it’s something that a lot of cultures like to hide behind it.
Kouguell:Into the Blue garnered a great deal of attention at the Berlin Film Festival and led to Martin Scorsese coming on board as Executive Producer.
Kusijanovic: They trusted in me, and it was a great experience. It was nice to get a call from Martin Scorsese and get his notes.
Kouguell: My students, particularly my female-identifying students, always ask how they can break into the industry and get their work seen.
Kusijanovic: Thereisonly one way. Write an amazing story, no one can refuse a good story. No one. There’s no way the story is so good that it can be refused. Now is the time. People are aware more than ever that films directed by women are getting financed. Women don’t need quotas; we just need to get financed. I hope in a couple of years we don’t need to use the terminology “female films” or “female directors”. There are “films” and there are “directors”. Thank you for the question.
MURINA will open theatrically on Friday, July 8th at the Metrograph in New York, and on Friday, July 15th at Laemmle Theaters in Los Angeles with national rollout to follow.
February 5, 2022 / sucity / Comments Off on Interview with THE POWER OF THE DOG Editor Peter Sciberras
Script contributor Susan Kouguell interviews Australian film editor Peter Sciberras about carefully sustaining and building tension throughout the film, while still highlighting the complexity and surprises built into the characters and the story.
The multi-award-winning The Power of the Dog now playing on Netflix, centers on charismatic rancher Phil Burbank who inspires fear and awe in those around him. When his brother brings home a new wife and her son, Phil torments them until he finds himself exposed to the possibility of love.
In my interview with Australian film editor Peter Sciberras we talked about carefully sustaining and building tension throughout the film, while still highlighting the complexity and surprises built into the characters and the story.
Peter Sciberras’s feature film debut HAIL (dir. Amiel Courtin-Wilson) was selected to play in competition at the 2011 Venice International Film Festival. That same year, the short film MEATHEAD (dir. Sam Holst) gained selection in the Cannes Film Festival, and was also awarded the Crystal Bear for Best Short Film at the Berlin International Film Festival. Peter’s feature film collaboration with David Michôd has spanned three films: THE ROVER, which premiered at Cannes Film Festival in 2014; WAR MACHINE, starring Brad Pitt, which premiered on Netflix in 2017 and THE KING, which premiered at Venice International Film Festival and was nominated for best editing at the Australian Academy of Cinema and Television in 2019.
Peter Sciberras
KOUGUELL: Tell me about your collaboration with Campion.
SCIBERRAS: I never met Jane before this film. Jane likes to be in the editing room, which I like too. I like to be with directors as much as possible, to get a sense of their particular vision and the atmosphere they invoke. Watching the dailies with Jane, I was soaking in as much as possible — what she liked and what wasn’t there for her. It’s interesting finding how your perspective aligns with the director and making the film they want to make as opposed to what you thought they wanted to make.
That’s the beauty of being in the room together; when you have one idea, and it builds from there in a constant stream of thought. It was such a pleasure to work with someone who is so confident with their vision. And it was incredibly fun.
KOUGUELL: When you signed onto the project had you read the original novel by Thomas Savage?
SCIBERRAS: I had never heard of the novel. I make a point not to know the source material prior to editing, so as not to fill in ideas from the source material. I know what Jane added and her memory of the book and her version of the script.
KOUGUELL: You mentioned solving some of the challenges in the script and changes that were made from the script to the film.
SCIBERRAS: Some characters were introduced quite late and then they disappear for half the script. There was a lot of balancing and identifying how to bring them in and then deciding how much we can get away with. For example, with Phil he’s not in it for a long time and the challenge was keeping that tension building without losing Phil’s presence.
KOUGUELL: The scenes of the vast landscape with the cowboys reminded me, in terms of the tension and atmosphere, of Campion’s film SWEETIE specifically with the landscapes in the outback and the (Australian) cowboys – the jackaroos – dancing.
SCIBERRAS: Jane feels landscape in a particular way; when it comes to filmmaking, she’s very attuned to landscape and very aware of the atmosphere that’s evoked.
With the long panning shot over the hill, we wanted something that had a certain atmosphere and it had a beauty and sensuality with the shapes and shadows hidden in the landscape. Having those conversations with Jane I was very aware of how she sees the world, and how those things permeate every scene, and how attune she is to nature.
KOUGUELL: The tension between Peter and Phil is palpable and continues to escalate as the film unfolds. Let’s talk about that cigarette scene.
SCIBERRAS: The intimate sharing of the rolled cigarette between Peter – who rolls it ‘to be like’ Phil, Kodi (Peter’s character) was so terrific there; the boy’s taken over and the boy is commanding this scene.
KOUGUELL: It was a shift of power between the two characters.
SCIBERRAS: Yes. And cutting to the horses with Peter; the horses had witnessed something we (the audience) hadn’t seen. It was a moment to get a bit more abstract and lyrical and hopefully transport the audience and give the moment some space to live.
KOUGUELL: The film’s pacing has a distinct rhythm.
SCIBERRAS: As an editor watching dailies and watching performances, you feel the pace the director was working at. It felt really clear to me. The film wanted to be really patient, and I felt that Jane set that up with Ari Wegner the DP. A lot of the pace comes from that, and hopefully the elegance and simplicity.
Weirdly when watching it, I was thinking of Hitchcock; that clear communication of framing, maybe there is something of that. Jane never mentioned that psychological reference with Hitchcock.
KOUGUELL: The film is broken into five chapters. The chapter cards were not in the script.
SCIBERRAS: Right. The chapters were not there to begin with. It was a big part of the edit. With the addition of the chapters, you were left with a question and a cliffhanger moment. In the script it was a fade to black. The chapters allowed us to leave you with a moment of anticipation. It was an interesting shift in the way the film moved, and it allowed us to cut it shorter as opposed to a soft transition.
KOUGUELL: Let’s talk about building tension and intimacy in scenes, and the importance of not being mysterious just to be mysterious in the scenes with Peter and Phil.
SCIBERRAS: All of Peter and Phil’s scenes were fun to cut. Their long lingering looks and a side glance – when you have such great performances it’s exciting. In their scenes, you don’t know what the characters are thinking, and you don’t know where the tension is coming from. Can you trust these people? The ambiguity, tension, and questioning their intentions.
KOUGUELL: Those lingering looks built the tension between these two characters and easily could have been seen as pretentious but it was not.
SCIBERRAS: Jane wants everything to resonate. She has a great compass for that reality, that’s why she can play in that world without it becoming pretentious; it’s very real and raw human. But she has very exciting high concept ideas that she executes and it’s that combination that live in her work and makes her work both accessible and layered. She’s brilliant on that level.
KOUGUELL: Some scenes were omitted and rearranged from the script.
SCIBERRAS: There wasa lot of omitting around the start of every chapter.
The first act was tricky, you want to get to the Red Mill quickly where Rose and Peter are introduced, but you need to set up the brothers and how they communicate, and we need to tell backstory. It was a tricky dance to get the right feeling. The brothers have been this way for a really long time and one of them has had enough and he’s not all the way there yet.
The opening of the script opened the same as the book with the castration of the cow. We restructured that scene and put it later when Peter arrives at the ranch. With this cut, it gave it this kind of energy, foreboding and signaling what is going to happen with this boy.
KOUGUELL: The film successfully establishes characters’ relationships and back story without exposition and reveals critical information at just the right moments.
SCIBERRAS: We didn’t want to show too much too quickly. For example, with the magazines in the cubby that are discovered, we wanted the audience to slowly learn what was going on. It felt reductive the way it was originally in the script and we didn’t want the audience to say, that’s why Phil is the way he is.
We also cut the saddle scene. We loved the internal work when Phil’s with his objects of admiration and love, and we wanted to continue that feeling. Jane came up with the idea to have Phil swimming and that was a key restructure, and to have him floating like a crocodile.
KOUGUELL: Advice for our readers?
SCIBERRAS: For editors, understanding the story you’re telling and being free to explore, to create a space with a director to go deep and create a safe place where nothing is off-limits leads to interesting avenues and solutions to problems.
For writers, editors and filmmakers, persistence is everything. It is the key. Good ideas will come but stick to it. Honing intuition is a key thing as well. Allowing yourself to feel the story, and immerse yourself in the characters, understanding the story from the inside and finding the best way to tell it.
The Power of the Dog is now available to watch on Netflix.
![[L-R] Richard E. Grant as J.M. Sinclair, Daryl McCormack as Liam Sommers, Julie Delpy as Hélène Sinclair, and Stephen McMillan as Bertie Sinclair in Bleecker Street's THE LESSON. Photo by Anna Patarakina, Courtesy of Bleecker Street.](https://scriptmag.com/.image/t_share/MTk5MTY4ODY4ODgxNTQxMDA3/thelesson-anna-patarakina-courtesy-of-bleecker-street.png)
![[L-R] Julie Delpy as Hélène Sinclair and Daryl McCormack as Liam Sommers in Bleecker Street's THE LESSON. Photo by Gordon Timpen, Courtesy of Bleecker Street.](https://scriptmag.com/.image/t_share/MTk5MTY4OTk5ODc4MDQzNTM1/thelesson-gordon-timpen-courtesy-of-bleecker-street.png)
