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 operating from September 8-18.
W&H: Describe the movie for us in your personal phrases.
MK: “Corsage” is a movie about Empress Elisabeth of Austria, who is likely one of the principal vacationer sights in Austria. She has develop into a fantasy, not solely due to her personal story but additionally due to how the well-known movie “Sissi,” starring Romy Schneider, performed with that fantasy. “Corsage” is a really totally different tackle Empress Elisabeth, a movie about her darker aspect, her riot in opposition to the position she was presupposed to play, which included staying younger and exquisite without end. The story of a lady who has to please with a purpose to be beloved 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 riot is a recurrent theme in her life. Every thing we all know or assume we learn about her pertains to that. She was a smoker when smoking was considered unhealthy conduct for a girl, didn’t contact any meals when pressured to take a seat at official dinners, traveled the world at any time when she might flea Vienna, constructed her personal sports activities tools, and went on intensive hikes or horse rides when being sporty or match was not trendy or necessary for anybody. She actually lived in a golden cage and tried to increase her place’s boundaries so far as she might.
I used to be drawn to her complicated character. Each portray of her appears to be like totally different. She performed together with her position, and I’m persevering with that, for her.
W&H: What would you like folks to consider after they watch the movie?
MK: I by no means make a movie to carry folks to a sure conclusion. I don’t take into consideration the viewers and what they are going to assume in any respect, not as a result of I don’t care, however as a result of that will result in assumptions. I can not management the viewers and I’d not wish to. I really feel very privileged that folks 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 photos 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 will likely be glad.
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 dimensions was new. There have been so many individuals concerned, with lots 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 at all times seems like too little. Budgets are a significant factor of filmmaking — “How can we do that for much less?” I might speak about this for hours. I at all times say, negotiating may be the most important a part of my work. I really feel like I’m negotiating more often than not — “I really want this, so I may be keen to surrender that,” and so on.
W&H: What impressed you to develop into a filmmaker?
MK: That second whenever you sit down in an enormous room with folks you don’t know, the lights taking place, solely that massive display and also you experiencing one thing collectively, and by no means realizing the place it’ll take you — in your creativeness, your ideas, your feelings. It nonetheless will get me, each time.
W&H: What’s one of the best and worst recommendation you’ve acquired?
MK: The very best was from my professor at movie college, earlier than my first quick movie: “You must make quick selections. In case you don’t know already, resolve anyway, as a result of the crew has to belief that you realize the place you’re going.” I nonetheless take into consideration that. I’m superb at quick selections now. It’s all about apply! What it actually says is that you may’t wait till you’re feeling prepared earlier than you begin. You by no means really feel absolutely ready, the script by no means appears completely completed, and within the edit you may go on without end. However there isn’t any “proper” approach; it’s not arithmetic. It’s essential to belief your intestine.
The worst recommendation was the alternative: lots of people telling me that the script for my first characteristic movie was too “massive” for a primary characteristic movie. “Shouldn’t you do one thing smaller first?” No. You at all times should work on what you’re feeling drawn to, not what appears affordable or higher strategically. No less than that’s what I feel. You want somewhat megalomania on this job, otherwise you received’t get anyplace.
W&H: What recommendation do you could have for different girls administrators?
MK: You must cope with the labels they provide you. Some males nonetheless have bother having a feminine boss, and they’re going to discover a label to placed on you which may damage you. You wish to be appreciated and brought severely on the identical time, however truthfully, you may’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, but it surely’s tough to know upfront. There’ll at all times be a person to let you know what you can not have or what he thinks he is aware of higher. They’re in all places 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 executed about 100 nice films, and mentioned to her, “Do you assume he’d speak 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 feel 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 combination of longing, melancholy, and the necessity for one thing you can not identify, and all my favourite movies have loads to do with “sehnsucht.” “Misplaced in Translation” is a chic, melancholic, but humorous movie, and executed with an important lightness, as if all the things got here to the director’s thoughts spontaneously. I am keen on that.
W&H: What, if any, obligations do you assume storytellers should confront the tumult on the earth, from the pandemic to the lack of abortion rights and systemic violence?
MK: To me, an artist doesn’t have any obligations apart from being an excellent individual. However, after all, I respect it when a narrative touches on topics we’re confronted with in actual life. I desire it to be executed in a refined approach, and I don’t assume you essentially should make a movie a few particular warfare or pandemic to say one thing about our world, about humankind, and the way we stay collectively on this planet.
W&H: The movie business has an extended historical past of underrepresenting folks of shade on-screen and behind the scenes and reinforcing — and creating — unfavorable stereotypes. What actions do you assume should 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 adjustments something. Filmmakers reproduce stereotypes on a regular basis, principally 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 the way to learn them, whereas they’re nonetheless stunned if, for instance, a feminine principal character will not be an ideal mom or a 58-year-old with gray hair. We should educate and problem our personal perceptions first with a purpose to train the viewers and to vary these simplified photos all of us have in our heads.
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