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Marie Kreutzer has had a hand in lots of Austrian movie productions. Her first characteristic movie, “The Fatherless”(“Die Vaterlosen”) (2011), has been proven and awarded at quite a few festivals, together with the Berlinale Panorama Particular. As well as, the movie was nominated for the Thomas Pluch Screenplay Award and the Austrian Movie Award. It was adopted by the characteristic movies “Gruber Is Leaving” (“Gruber Geht”) (2015), “We Used to Be Cool” (“Was Hat Uns Bloß So Ruiniert”) (2016), and the TV movie “Die Notlüge” (2017), which have been additionally proven and awarded at festivals. Along with her work as a director, Kreutzer has labored as a lecturer on the Vienna Movie Academy and as a screenwriter and dramaturge.
“Corsage” is screening on the 2022 Toronto Worldwide Movie Pageant, which is working from September 8-18.
W&H: Describe the movie for us in your individual phrases.
MK: “Corsage” is a movie about Empress Elisabeth of Austria, who is without doubt one of the foremost vacationer points of interest in Austria. She has grow to be a fable, not solely due to her personal story but additionally due to how the well-known movie “Sissi,” starring Romy Schneider, performed with that fable. “Corsage” is a really totally different tackle Empress Elisabeth, a movie about her darker aspect, her revolt towards the position she was imagined to play, which included staying younger and delightful perpetually. The story of a girl who has to please as a way to be liked is common and timeless.
W&H: What drew you to this story?
MK: When studying the biographies, letters, diaries, and so forth, of Elisabeth, I sensed that her silent revolt is a recurrent theme in her life. Every little thing we all know or assume we learn about her pertains to that. She was a smoker when smoking was considered dangerous habits for a girl, didn’t contact any meals when pressured to sit down at official dinners, traveled the world each time she may flea Vienna, constructed her personal sports activities gear, and went on intensive hikes or horse rides when being sporty or match was not trendy or essential for anybody. She actually lived in a golden cage and tried to develop her place’s boundaries so far as she may.
I used to be drawn to her advanced character. Each portray of her seems totally different. She performed along with her position, and I’m persevering with that, for her.
W&H: What would you like individuals to consider after they watch the movie?
MK: I by no means make a movie to convey individuals to a sure conclusion. I don’t take into consideration the viewers and what they’ll assume in any respect, not as a result of I don’t care, however as a result of that might result in assumptions. I can not management the viewers and I’d not wish to. I really feel very privileged that individuals resolve to take a position two hours of their life diving into my creativeness. I wish to give them pleasure, emotion, inspiration, I wish to fill them with pictures and sound, and I would like them to really feel completely free to go away the theater with no matter resonates with them. That may be very various things, as I do know by now. If I could make them take away a tiny factor for themselves, I shall be comfortable.
W&H: What was the most important problem in making the movie?
MK: The co-production, as a result of [that process] was new to me. It was my fifth characteristic movie, however the funds was 2.5 occasions as excessive because the funds for the movies earlier than. The size was new. There have been so many individuals concerned, with a lot of them new to me. Coping with all their ideas, recommendations, expectations, was the most important problem for me, personally.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
MK: It’s a European co-production which was funded by numerous public establishments in Austria, Luxembourg, Germany, and France, in addition to general European establishments and TV networks.
I’ve not made one movie the place there was “sufficient” cash. It all the time looks like too little. Budgets are a major factor of filmmaking — “How can we do that for much less?” I may speak about this for hours. I all the time say, negotiating is likely to be the most important a part of my work. I really feel like I’m negotiating more often than not — “I actually need this, so I is likely to be prepared to surrender that,” and so on.
W&H: What impressed you to grow to be a filmmaker?
MK: That second once you sit down in a giant room with individuals you don’t know, the lights happening, solely that large display screen and also you experiencing one thing collectively, and by no means figuring out the place it’ll take you — in your creativeness, your ideas, your feelings. It nonetheless will get me, each time.
W&H: What’s the most effective and worst recommendation you’ve obtained?
MK: The most effective was from my professor at movie faculty, earlier than my first quick movie: “You must make quick selections. For those who don’t know already, resolve anyway, as a result of the crew has to belief that you know the place you’re going.” I nonetheless take into consideration that. I’m excellent at quick selections now. It’s all about observe! What it actually says is you can’t wait till you’re feeling prepared earlier than you begin. You by no means really feel totally ready, the script by no means appears completely completed, and within the edit you possibly can go on perpetually. However there isn’t any “proper” approach; it’s not arithmetic. You should belief your intestine.
The worst recommendation was the alternative: lots of people telling me that the script for my first characteristic movie was too “large” for a primary characteristic movie. “Shouldn’t you do one thing smaller first?” No. You all the time should work on what you’re feeling drawn to, not what appears cheap or higher strategically. At the least that’s what I believe. You want a bit of megalomania on this job, otherwise you gained’t get anyplace.
W&H: What recommendation do you’ve gotten for different girls administrators?
MK: You must cope with the labels they provide you. Some males nonetheless have hassle having a feminine boss, and they’ll discover a label to placed on you that may damage you. You wish to be favored and brought severely on the identical time, however truthfully, you’ll be able to’t have that from all of the boys. In the long term, you need to discover males to work with who don’t have these points, nevertheless it’s troublesome to know prematurely. There’ll all the time be a person to let you know what you can not have or what he thinks he is aware of higher. They’re in every single place and it doesn’t matter if you’re a 25-year-old making your first quick movie or a professional who’s 56.
Just a few months in the past, in post-production on “Corsage,” I leaned over to my DOP, who has performed about 100 nice motion pictures, and mentioned to her, “Do you assume he’d discuss to us like that if we have been two guys?” We laughed as a result of the reply was a really clear “no.” The man was youthful than each of us, so that you don’t solely get it from older males.
W&H: Title your favourite woman-directed movie and why.
MK: I believe that’s “Misplaced in Translation” by Sofia Coppola. To me, it’s her finest movie. There’s a German phrase that doesn’t exist in English, “sehnsucht,” a mix of longing, melancholy, and the necessity for one thing you can not identify, and all my favourite movies have lots to do with “sehnsucht.” “Misplaced in Translation” is a chic, melancholic, but humorous movie, and performed with an ideal lightness, as if all the things got here to the director’s thoughts spontaneously. I like that.
W&H: What, if any, tasks do you assume storytellers should confront the tumult on this planet, from the pandemic to the lack of abortion rights and systemic violence?
MK: To me, an artist doesn’t have any tasks apart from being individual. However, in fact, I admire it when a narrative touches on topics we’re confronted with in actual life. I favor it to be performed in a delicate approach, and I don’t assume you essentially should make a movie a couple of particular warfare or pandemic to say one thing about our world, about humankind, and the way we dwell collectively on this planet.
W&H: The movie trade has an extended historical past of underrepresenting individuals of shade on-screen and behind the scenes and reinforcing — and creating — adverse stereotypes. What actions do you assume have to be taken to make Hollywood and/or the doc world extra inclusive?
MK: I’m for quotas, not as a result of they’re good, however as a result of nothing else works or modifications something. Filmmakers reproduce stereotypes on a regular basis, largely as a result of it’s the simplest approach, not essentially as a result of it’s what they consider in. The viewers is used to stereotypes and is aware of learn how to learn them, whereas they’re nonetheless shocked if, for instance, a feminine foremost character isn’t an ideal mom or a 58-year-old with gray hair. We should educate and problem our personal perceptions first as a way to educate the viewers and to vary these simplified pictures all of us have in our heads.
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