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Interview With Susan
Kougell
How did you get involved with the film industry? I started making films with a collaborator when I was at SUNY Purchase. We made six short experimental narrative films, which went on to win numerous international film festivals, were included in the Whitney Museum of American Art Biennial, and acquired for the Museum of Modern Art’s permanent collection and archives. Prior to making our last film, I began two years of free-lancing at Paramount Pictures in New York. This was a big transition (if not a shock) for me – from making art films, to working in various departments at a major studio. Paramount Pictures was my entrée into the film industry. I left Paramount after having the great fortune to meet the late French film director Louis Malle, who hired me to work on his documentary And the Pursuit of Happiness. Once Malle’s film was completed, I was hired to write my first feature. I then went on to work as a story analyst and ghostwriter at Miramax Films, and other companies. In 1990 I started my screenplay and post-production company Su-City Pictures East and have worked with over 1,000 screenwriters and filmmakers internationally, as well as the major studios including Warner Bros. and Fine Line Features. How were you hired to write your first feature film? While I was working on Louis Malle’s And the Pursuit of Happiness, I became friends with Malle’s associate producer who was planning to direct his first feature. We discussed the short story he was interested in adapting, and then he asked to see my short films and I was hired. There seems to be a conflict inherent in advice from pro screenwriters: first, they tell new writers to rewrite until the blood spurts from our brains and the script is pristine, then they tell us don't get attached to our words because what appears on screen will likely have very little to do with what we wrote. How do you resolve this? This does seem to be a conflict, but I think the advice is correct. Despite
the fact that often the finished film will most likely not resemble your
original script, you must do your best work. The bottom line is that you must
prove your talent daily to prospective agents and producers. I try to remain
optimistic that one day my actual words will be on the screen intact! This is difficult to answer since there is no hard and fast rule. In my
experience, as well as my colleagues’ experience, it seems that concentrating
on spec scripts first, is the best option. Ultimately, you can pitch a great
idea or write a compelling treatment, but companies, etc. want to see that you
can deliver on your idea and write a great script. There are numerous resources available for new screenwriters, which I have listed extensively in the appendix of my book, The Savvy Screenwriter: How to Sell Your Screenplay (and Yourself) Without Selling Out! Film schools such as UCLA, USC, NYU, and AFI (The American Film Institute) are just a few examples of the prominent film schools, which have strong screenwriting programs. Should a writer ever accept a free option, or the promise of "back-end points"? It’s very tempting to accept a free option or back-end points especially when you’re first starting out. Obviously, writers want to get their movies made and don’t want to ‘blow their chances’ because they’re appearing ‘greedy.’ My advice is to speak to an entertainment attorney and/or your agent if you are presented with either choice. You must be protected and always, always, always get a contract before you enter into any deal. My feeling is that if you accept a free option you may run the risk of being taken advantage of. If you’re willing to work for free, you may be seen as being an ‘expendable screenwriter.’ If you agree to back end points, it’s important to know that the chances of seeing any money is almost impossible – unless the movie becomes a huge blockbuster hit. Remember, if the producer hiring you doesn’t want to sign a contract, you don’t want to work with him or her. Should writers take a chance on non-WGA signatory
agents if all the WGA signatory agents haven't paid us any attention? How can an unknown writer get the attention of reputable agents and producers if the common rule seems to be "no unsolicited submissions"? 1) Persistence! 2) Writing a great query letter may grab the attention of agents and producers. 3) Enter reputable screenwriting competitions. If you win or place as a finalist, you can include this in your query letter, which will bring attention to your work. 4) Network! Attend and/or volunteer at script conferences and film festivals. Try to make personal connections with industry professionals during these events. 5) Do a staged reading of your script. There are numerous organizations across the country that provide opportunities for screenwriters to have their work read by actors. The staged reading is a great way to hear your work aloud, to see what the audience is responding to, and will give you the chance to invite agents and producers. Let's say I know my writing isn't working as well as it should be, but I can't afford to hire a script consultant. What are my options? It’s vital to get objective feedback prior to submitting your script to potential agents, production companies and/or studios. If you can’t afford to hire a script consultant, then try to hook up with other screenwriters in your area and form a writers’ group. This is a good way to receive feedback and to share resource information about the film industry such as: script competitions and screenwriting conferences. Additionally, there may be continuing education programs at local universities offering screenwriting classes. Should new writers stick to writing low budget scripts? Is it easier to work our ways up the Hollywood ladder by going the indie route first? The odds may be more in your favor if you write a low budget script since there are only a handful of big budget films produced a year. I don’t know if it’s "easier" to do the independent route as a means to climb the Hollywood ladder, but it may the more accessible choice. What are some of the most common mistakes you see
screenwriters make? What's one thing you wish you'd learned earlier about the film business? Starting out as an experimental filmmaker and making the transition to working for Paramount Pictures, then Miramax Films, and other companies – I would say the one thing I wish I had learned earlier was that this is a business. I was very naïve when I started out and I had to quickly learn that in order to get my work out in the world, I had to overcome my shyness and essentially put on a producer’s cap. I was the one who had to educate myself about the film industry by attending script conferences and seminars, reading the trades, etc. I also learned the hard way that it was imperative to always get a solid contract (reviewed by your attorney) when entering into a deal with a producer. As a script doctor, if you found a script that you thought was a potential blockbuster, would you send it to your contacts for the client? Should writers hope for that when they send a script to a consultant/script doctor? In the past ten years as chairperson of Su-City Pictures East, I have recommended several of my clients’ projects to my personal industry contacts. However, I make it very clear to every prospective client before they hire me that I cannot make any promises to recommend their work to my contacts. What I do offer them is extensive insight as to what companies, producers, etc. look for in a script given my experience working with companies such as Miramax, Viacom, Warner Bros., Punch Productions, Paramount Pictures, etc. I never want to give false hope to prospective clients that by hiring me they’ll have a chance to have their work considered by my contacts. I don’t believe that screenwriters should hire script consultants and/or script doctors based on this hope. There are no guarantees in this business whatsoever, and if a script consultant and/or script doctor promises this, I would be wary. Don’t be afraid to ask for references before hiring a consultant! Anything further you'd like to add?It’s so important to remain patient! The competition is extremely tough. You must have passion for your project and that passion must be conveyed in your script, as well as your query, synopsis and pitch. Take your time writing a great query letter and synopsis, and preparing your pitch. These three elements may be the key to unlocking a film executive’s door. Good luck! Visit Susan's websites at www.su-city-pictures.com and www.savvyscreenwriter.com.
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Susan Kouguell, author of: The Savvy Screenwriter: How to Sell
Your Screenplay (and Yourself) Without Selling Out! is an award-winning
screenwriter and filmmaker. She co-wrote The Suicide Club (Anjelica), wrote
voice-over narrations for Murder One and Dakota (Miramax), and has written a
dozen feature film assignments for independent production companies. As
chairperson of her motion picture consulting company Su-City Pictures East, she
has worked with over 1,000 writers and filmmakers, as well the major studies
including Miramax, Warner Bros., and Fine Line Features. She associate produced
the features Rum & Coke directed by Maria Escobedo and Jay Craven's Where
the Rivers Flow North, and worked with director Louis Malle on the feature
documentary And the Pursuit of Happiness. Kouguell teaches screenwriting at
Tufts University and gives screenwriting seminars throughout the country.
