Pulling the Curtain Back at Script Magazine with Editor-In-Chief Sadie Dean and Senior Contributing Editor Susan Kouguell
About the Role of Film School
Susan Kouguell notes that the importance of going to film school depends on the types of films you want to make and your career goals. After undergraduate school, she was a fellow at the Whitney Independent Study Program, which was a perfect match for her practice as an experimental filmmaker. Sadie Dean attended the American Film Institute in the screenwriting program, describing it as a super intense program where you're writing, producing, and just putting out work constantly.
Benefits of Film School and Networking
Sadie believes there is a benefit in going to a film school like that, because you're going there not only to make movies and work on your voice as a storyteller, but you're networking. She recalls being told on the first day: ‘look to your left, look to your right, look in front of you, look behind you, you're paying for your network, you don't know if the person is going to be your agent, or your producer, or your director.’ Having that community is invaluable, and Sadie thinks that if you're going into this business, and you want a career after film school, becoming an editor or cinematographer can provide more work and accessibility.
Trajectories and Detours in Filmmaking Careers
Susan Kouguell's career path involved volunteering at the Independent Feature Film Market, working as a buyer liaison, and later being hired as an acquisitions and talent consultant for Republic Pictures and Warner Bros. She worked in various capacities at Paramount Pictures, Viacom, Punch Productions, and Miramax, and also made experimental short films. Sadie had a similar experience, starting with a writing partner right out of grad school, doing writing-for-hire projects and specs, and later falling back on producing.
Writing Spec Scripts and Working with Agents
Sadie's experience with writing spec scripts was a whirlwind, getting approached by agents, managers, and production companies right out of AFI. She was a young 20-something kid who didn't know what she was doing, and was either overthinking these opportunities or scared of turning something in that she didn’t think was perfect. Susan notes that it's hard not to get one's own way, and there's also that important aspect of following one's own gut. Sadie doesn't have an agent at the moment, but had a talent manager who hip-pocketed her in the past.
Getting Involved with Script Magazine and Writing for Publications
Sadie got involved with Script magazine through a friend who told her about a sales associate job at The Writers Store. She never saw herself writing articles, running an online magazine, and running the show in this way. Susan wrote for the magazine when it was an actual physical publication, and also for the Writers Guild publication Written By, after speaking on panels for the Writers Guild.
Film Festivals: Pros and Cons and Choosing What’s Right for You
Susan notes that it's more advantageous to have your work seen in person at a festival, but online festivals can also widen the viewership and draw attention to you as a filmmaker. She questions if newer festivals are worth the submission fee, and looks at who the judges are. Sadie uses FilmFreeway, but is cautious of the submission fees and spam emails. Her criteria for choosing a festival include who's judging, if there are any judges, if the festival will be in person, and how long it's been running.
Building a Filmmaking Community and Finding Success
Sadie thinks that finding success happens over ten years, if you're lucky enough to get anything up and out and finding those eyeballs to see your work. She notes that it's not just about winning prizes, but about meeting like-minded people and building a community. Susan agrees, and thinks that for them, it is a labor of love and their passion. Sadie is rebuilding her filmmaking tribe, and with these people, they can hold each other accountable.