Character Relationships – The Finishers

March 19, 2015 / sucity / Comments Off

Character Relationships:

Families Who Get Along and Those Who Don’t

By Susan Kouguell

Conveying your characters’ dynamics and their layered and complex relationships is an essential element when writing a savvy screenplay. Characters with specific opinions, attitudes and points of view, and what they need and want from their relationships, will give your screenplay the necessary depth to grab the attention of film industry folks.

Characters’ wants, 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.

The opening night film of the recent 2015 ReelAbilities: NY Disabilities Film Festival The Finishers (directed by Nils Tavernier, screenplay by Nils Tavernier, Laurent Bertoni and Pierre Leyssieux), is a drama, centering on a father and son relationship. The film was inspired by the true story of Team Hoyt — Dick Hoyt and his son Rick Hoyt (with cerebral palsy), the Massachusetts father and son duo, who competed in dozens of races from 1977-2014.

At 17 years old, Julien has a great sense of humor, bags of charm, and cerebral palsy. In a bid to bond with his father, Julien challenges him to participate with him in the Ironman race in Nice, France, a triathlon in which his father has previously competed. Doing the race alone is an incredible challenge, but completing it together with Julien would be nearly impossible. Still, his father agrees and the two set out to train for and compete in one of the most intense races on earth. Beyond the sporting exploit, this is the story of one family’s exemplary journey, and a moving portrait of the love between a father and his son.

While a story about the triumph of this father and son team, the plot of The Finishersalso reveals the challenges of Julien’s mother, Claire, who has been Julien’s primary caregiver due to husband Paul’s emotional and (work-related) physical absence. An interesting triangulated relationship emerges when Julien, who is about to turn 18, finds himself in the middle of this shifting mother/son/father and father/son/mother relationship.

Ageism, Disappearance, and Blurred Lines in Clouds of Sils Maria (SCRIPT MAGAZINE)

March 17, 2015 / sucity / Comments Off

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Ageism, Disappearance, and Blurred Lines in Clouds of Sils Maria

by Susan Kouguell

MARIA ENDERS
I’m sick of hanging from wires
in front of green screens.

The lines between reality and fiction are blurred and layered in Olivier Assayas’ Clouds of Sils Maria, a character study about ageism and mortality.

clouds-of-sils-maria.png (1001×583)

At the peak of her international career, Maria Enders is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself. (Synopsis courtesy of Cannes Film Festival)

Now in her 40s, Maria Enders, who has been asked to play the part of Helena on the London stage, finds herself conflicted; she is both terrified and intrigued by the role because it will force her to confront ageism and mortality — the latter underscored by the fact that the actor who originally played Helena died in a car accident.

Maria Enders is very much aware that if she chooses to play the Helena role she might just be tempting fate, as well as her own downfall.

Here we are presented with the question that propels the narrative forward: Despite the various obstacles thrown in her path throughout the film, will Maria Enders play the Helena role on the London stage?

Once Maria accepts the Helena role, she continues to be conflicted by her choice. The narrative stakes rise as Maria prepares the role of Helena with her assistant, Val, who is running lines of the vital young upstart in the play. Their lines literally become blurred: Are they acting lines from the play or is this real life? Taking this idea one step further, life imitates art and art imitates life, when a satirical nod is made to the “real life” dramas (marital infidelities, intrusive paparazzi, and more) these real-life actresses have faced.

Thematically, this film draws some inevitable comparisons to Joseph L. Mankiewicz’s All About Eve; the psychological and emotional toll and consequences of aging on a successful actress are examined. In All About Eve antagonist Eve Harrington insinuates and schemes her way into the life of Broadway star, Margo Channing (the protagonist) and will stop at nothing to achieve her goal — to become a bigger star than Margo. Introducing herself to Margo as her biggest fan, Eve’s manipulation of Margo’s vanity is calculated; she is duplicitous and has an agenda, and plays on Margo’s fear of getting old. Margo Channing’s biggest vulnerability is age; an aging actress with a younger lover. In Clouds of Sils Maria, Joann Ellis is coy and savvy, and she flatters Maria Enders not so unlike the unscrupulous Eve Harrington. Both Margo Channing and Maria Enders briefly fall into their opponents’ traps, and each discovers that the next generation of stars is ready and armed to take their places. Time marches on with or without them.

Margo expresses her doubts about her age to playwright Lloyd, regarding playing the lead character of Cora, a young ‘twenty-ish’ woman, in his new play:

MARGO CHANNING
Lloyd, I am not twenty-ish. I am not thirty-ish.
Three months ago, I was forty years old. Forty.
Four oh – That slipped out. I hadn’t quite made
up my mind to admit it. Now I suddenly feel as
if I’ve taken all my clothes off.

The characters of Maria Enders and Margo Channing are two actresses who will not quietly fade away into actor oblivion. Yet ironically in Act 3, there is one character in Clouds of Sils Maria who does fade away and disappears, never to be seen, heard, or referred to again – – perhaps reinforcing another them of this film — loss. As one character in Clouds of Sils Maria states: “The text is like an object. It’s gonna change perspective based on where you’re standing.”

– See more at:

Clouds Sils Maria

IDA: THE SEARCH FOR IDENTITY

February 26, 2015 / sucity / Comments Off

IDA: The Search for Identity
and Creating Captivating Characters

by Susan Kouguell

WANDA
“You’re Jewish.”

These few words are revelatory in the Oscar-winning Ida, written and directed by Pawel Pawlikowski.

The setting; 1962 post-Stalin Poland.

A few days from taking her vows at the convent where she was raised, Anna, a naive orphan and young novice, learns the existence of Wanda — her aunt. A former state prosecutor, the cynical Wanda is part of the Communist elite.

These two women are distinct characters . Wanda drinks heavily, chain-smokes, and has one-night stands. Indeed, she is the opposite of her niece; worldly versus sheltered, atheist versus believer.

Wanda reveals key secrets from Anna’s past: Anna’s birth name is not Anna but Ida, and her true religious identity is that she is Jewish. This revelation advances the narrative forward, prompting Wanda and Ida to venture together on a journey to discover what happened to Ida’s parents during the Nazi occupation.

Characters’ specific journeys — their experiences as they attempt to achieve their goals and what they learn about themselves and others—are the basis of defining a screenplay’s themes. The theme is what your story is about; it is the central idea or dominant subject matter that reoccurs throughout your screenplay. Examples of themes include redemption, survival, empowerment, alienation, and triumph over adversity. In Ida, the two central themes are identity and secrets of the past.

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SUSAN’S (Screenwriter’s Utopia) TOP TIPS ON CHOOSING AN AGENT

January 26, 2015 / sucity / Comments Off

Many screenwriters share something in common. Is it the agony and ecstasy of writing? Well, for some yes, but for most –it’s about finding an agent, and when you do, finding the right one for you.

Indeed — finding an agent can be considered a full-time job. Not only have you written a brilliant screenplay but now you must write and submit queries, network and then network some more, and research agencies and agents that are the right match for you and your work. Added to that is the endless time involved and sleepless nights, waiting for a response. This journey can be challenging, often frustrating, nearly impossible, clearly nerve-wracking and nauseatingly gut-wrenching.

But then – alas. You get the call. The email. The response. An agent is interested in representing you! Hallelujah. Congratulations! Break out the champagne. Do the happy dance. But don’t lose your common sense!

Yes, it’s wonderful 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.

Tips on Choosing an Agent

Susan’s Screenwriter’s Utopia: A Look Back at THE BAD AND THE BEAUTIFUL and Looking into the Future of Your Collaborations

December 6, 2014 / sucity / Comments Off

BARTLOW
I know the legend, Jonathan Shields,
the man will do anything to get what he
wants…Shields Pictures Incorporated.
Well, I’m flattered you want me, and
bitter you got me. Where do I start?

SHIELDS
Just read these scripts, see how it’s
done, rough out a story line, and
then we’ll get to work. And don’t worry,
some of the best movies are made by
people working together who
hate each other’s guts.

BARTLOW
Then we should make a great movie.

SHIELDS
I usually do.

BARTLOW
What about your last two?

SHIELDS
I like ’em.

This excerpt from the Academy Award-winning screenplay by Charles Schnee from the 1952 film The Bad and the Beautiful directed by Vincente Minnelli, underscores the stereotypical –and frankly, the often not so stereotypical relationships between screenwriters and their producers and directors. (The Bad and the Beautiful offers a behind-the-scenes look into movie-making and Hollywood; the title refers to the antagonist, the unscrupulous producer Jonathan Shields — The “Bad” and the protagonist “the Beautiful” starlet Georgia Lorrison.)

Hopefully your collaborations and work relationships with producers and directors will not be tumultuous and fraught with conflict as with the fictional screenwriter Bartlow and antagonist Shields.

The Honeymoon

The initial meetings with producers and directors can be filled with champagne and caviar, and congratulatory pats on the back on everyone’s brilliance, celebrating the future of breaking box office records and Oscar wins. But when the champagne and caviar are polished off, the reality of the hard work is ahead.

The Honeymoon is Over…And Keeping the Honeymoon Period Alive

Unless you are the sole screenwriter, producer, and director of the film, there will be collaborators with whom you must work. The truth is that a screenplay is the blueprint from which the director and producers create the film. That means that everyone has an idea, (good or bad) and a lot to say (good or bad), and tempers can flare (not so good), and egos can be hurt (really not good).

Collaborating on a screenplay and/or film can be inspiring and amazing, but it also can be very exasperating if you are not in sync with your writing partner or with the producer and/or director. Putting your cards on the table from the onset of your collaboration will avoid unpleasant surprises and hurt egos later on. Be forthcoming about your expectations and goals for both the script and the collaboration, and don’t shy away from asking your collaborator’s goals and expectations. Understanding the director and/or producers’ goals for the project you’ve written will improve your chances for a positive collaboration.

Susan’s Screenwriters Utopia: Men, Women, & Children, and Jason Reitman & Themes

November 10, 2014 / sucity / Comments Off

Men, Women, & Children, and Jason Reitman & Themes – Screenwriter’s Utopia

At the Jacob Burns Film Center in October, film critic and JBFC president Janet Maslin interviewed director Jason Reitman after the screening of his latest film Men, Women & Children (based on the novel by Chad Kultgen) written by Reitman and Cressida Wilson.

Reitman: “I like making movies about the sides we don’t show.” Describing his film as an ensemble story, Reitman said, “I wanted to make a movie about relationships. I think people have been cheating on each other for a long time. Some of the things that the movie addresses are porn, girls with body issues, and relationships. We’re brave on a first date; there are certain things you stop sharing in a long-term relationship.

http://www.screenwritersutopia.com/article/727d0528

Susan’s THE SCRIPT LAB: The Choices Your Characters Make: The Consequences in ‘Force Majeure’

October 26, 2014 / sucity / Comments Off

The Choices Your Characters Make: The Consequences in ‘Force Majeure’

Regardless of the genre you are working in, your main characters must make key choices that will propel the narrative forward and shape your plot.

Force Majeure (written and directed by Ruben Ostlund), the official entry for the foreign language Oscar from Sweden, centers on a picture-perfect family; a handsome young couple and their two young children on a ski vacation in the French Alps. When the father makes a choice to abandon his family as an avalanche approaches, the consequences of this choice propels the narrative forward. This choice is further examined by the themes of male gender stereotypes; specifically shame and expectations of men.

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

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

TO READ MORE: http://thescriptlab.com/features/screenwriting-101/2945-the-choices-your-characters-make-the-consequences-in-force-majeure

Susan’s TOP TIPS FOR SELLING YOUR SCREENPLAY

October 1, 2014 / sucity / Comments Off

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

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

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

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

August 29, 2014 / sucity / Comments Off

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

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

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

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

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

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

August 7, 2014 / sucity / Comments Off

INT. JOCK’S PLANE – DUSK

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

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

JOCK

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

INDY

I can’t stand snakes.

JOCK

The world’s full of them, you know.

INDY

I hate them.

JOCK

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

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

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

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

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

Su-City Pictures East, LLC

Screenplay & Film Consulting By Susan Kouguell

Category: WRITING CHARACTERS (page 2 of 3)