Marie Kreutzer has had a hand in lots of Austrian movie productions. Her first function 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 function 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 Competition, 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 among the major vacationer sights in Austria. She has grow to be a delusion, not solely due to her personal story but in addition due to how the well-known movie “Sissi,” starring Romy Schneider, performed with that delusion. “Corsage” is a really totally different tackle Empress Elisabeth, a movie about her darker aspect, her revolt towards the function she was imagined to play, which included staying younger and exquisite endlessly. The story of a girl who has to please so as 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. The whole lot we all know or suppose we find out about her pertains to that. She was a smoker when smoking was thought to be unhealthy conduct for a lady, didn’t contact any meals when compelled to take a seat at official dinners, traveled the world at any time when she may flea Vienna, constructed her personal sports activities tools, and went on in depth hikes or horse rides when being sporty or match was not fashionable or necessary for anybody. She actually lived in a golden cage and tried to increase her place’s boundaries so far as she may.
I used to be drawn to her advanced character. Each portray of her appears to be like totally different. She performed together with her function, 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 deliver individuals to a sure conclusion. I don’t take into consideration the viewers and what they may suppose in any respect, not as a result of I don’t care, however as a result of that may result in assumptions. I can not management the viewers and I’d not need to. I really feel very privileged that individuals resolve to take a position two hours of their life diving into my creativeness. I need to give them pleasure, emotion, inspiration, I need to fill them with photos and sound, and I need them to really feel completely free to depart 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 can be completely satisfied.
W&H: What was the largest problem in making the movie?
MK: The co-production, as a result of [that process] was new to me. It was my fifth function movie, however the finances was 2.5 occasions as excessive because the finances for the movies earlier than. The size was new. There have been so many individuals concerned, with lots of them new to me. Coping with all their ideas, ideas, expectations, was the largest 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 total European establishments and TV networks.
I’ve not made one movie the place there was “sufficient” cash. It all the time appears 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 largest a part of my work. I really feel like I’m negotiating more often than not — “I really want this, so I is likely to be keen to surrender that,” and many others.
W&H: What impressed you to grow to be a filmmaker?
MK: That second whenever you sit down in a giant room with individuals you don’t know, the lights taking place, solely that large 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 the most effective and worst recommendation you’ve acquired?
MK: The perfect was from my professor at movie college, earlier than my first quick movie: “It’s a must to make quick selections. If you happen to 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 that you could’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 may go on endlessly. However there isn’t a “proper” method; it’s not arithmetic. It’s essential to belief your intestine.
The worst recommendation was the other: lots of people telling me that the script for my first function movie was too “large” for a primary function movie. “Shouldn’t you do one thing smaller first?” No. You all the time must work on what you’re feeling drawn to, not what appears cheap or higher strategically. At the very least that’s what I believe. You want a bit megalomania on this job, otherwise you received’t get anyplace.
W&H: What recommendation do you have got for different girls administrators?
MK: It’s a must to take care of the labels they provide you. Some males nonetheless have hassle having a feminine boss, and they’ll discover a label to placed on you which may damage you. You need to be appreciated and brought critically on the identical time, however actually, you possibly can’t have that from all of the boys. In the long term, it’s important to discover males to work with who don’t have these points, however it’s troublesome to know upfront. 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 all over the 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 films, and mentioned to her, “Do you suppose 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: Identify your favourite woman-directed movie and why.
MK: I believe that’s “Misplaced in Translation” by Sofia Coppola. To me, it’s her greatest 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 loads to do with “sehnsucht.” “Misplaced in Translation” is a chic, melancholic, but humorous movie, and performed with an excellent lightness, as if every part got here to the director’s thoughts spontaneously. I am keen on that.
W&H: What, if any, duties do you suppose storytellers must 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 duties other than being a superb particular person. However, in fact, I respect it when a narrative touches on topics we’re confronted with in actual life. I favor it to be performed in a delicate method, and I don’t suppose you essentially must make a movie a few particular conflict 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 individuals of shade on-screen and behind the scenes and reinforcing — and creating — destructive stereotypes. What actions do you suppose 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 excellent, 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 best method, not essentially as a result of it’s what they imagine in. The viewers is used to stereotypes and is aware of find out how to learn them, whereas they’re nonetheless greatly surprised if, for instance, a feminine major character is just not an ideal mom or a 58-year-old with gray hair. We should educate and problem our personal perceptions first so as to train the viewers and to vary these simplified photos all of us have in our heads.