Director Interview at Arpa International Film Festival, Los Angeles

http://arpafilmfestival.wordpress.com/2009/10/23/16-meet-charise-studesville/

#16: Meet CHARISE STUDESVILLE

23102009

CHARISE STUDESVILLE, writer/director/producer

Film: THE HANDS

Screens: Saturday Oct. 24, 4:45 pm – Emerging Stars: Filmmakers on the Edge program

The Hands is a story of the love between a father and daughter that can’t last in its original pure state. As the grown-up daughter now sits at her father’s bedside in his final hours, she becomes fixated upon his hands and how they have come to represent all of who he was, as a man and as a father.

1. Tell us a little about yourself and where you have lived, highlighting any major cultural identities that define, influence or challenge you in your life.

I have spent most of my life in the midwest, growing up for much of my childhood in Madison, WI, and returning there to attend the University of Wisconsin. Since graduating from college, I have lived in Chicago. For the past two years, I have split my time between Los Angeles and Chicago.

I was born a multi-cultural baby before it was chic. Coming from different worlds on either side of my family, I learned very early on to look beyond the surface to view who people really are, at their core.

While there were definitely times when my being culturally different from the blond-haired, blue-eyed standard of beauty that defined the population where I grew up, I have to say that I always felt my mixed-race status was a bonus. From the very beginning, I loved and was loved by very different people from very different worlds. It’s funny, but no matter where I go in the world, people assume I am one of them, a member of their cultural tribe. I really think this has informed my filmmaking. I have always been able to hone in on the humanist element in people, and in the characters I create in my writing and filmmaking. You can’t learn that in school. You either have the sensibilities, or not. I am thankful for all of the nations that live within my heart, and I think the world is finally catching up with my view.

2. How did you come to be a filmmaker, and where/how did you learn the “craft” of filmmaking?

I was trained as a journalist at the University of Wisconsin School of journalism. I went on to use my writing skills within politics, the law, non-profits, etc., but always circled back to fiction writing.

A few years ago, I began studying screenwriting and filmmaking, first during my graduate studies at DePaul University, and then at the Iowa Writers Workshop. I subsequently wrote several screenplays that won awards in various writing contests. After learning the production side of the business during an internship at Martin Chase Productions (Sisterhood of the Traveling Pants, Cheetah Girls, The Princess Diaries), I knew that the one piece left to learn was directing. I was accepted into the USC/Warner Brothers Directing & Producing Program, where it all sort of came together for me. I was able to come out of the program and head directly into production of my directorial debut, along with executive producing another film.

My instructor at USC really helped me in placing a template of organization over the already-honed film aesthetics that came from studying the craft for so many years.

With all of that said, I still feel that my most useful training came from the year I spent as a young girl in a body cast, literally forced to watch the world go by. My imagination served as my friend all of those months, and now it serves as the basis for my career.

3. What prompted the idea for your film and how did it evolve?

One of the screenplays that I wrote is a modern version of The Big Chill, but populated by a multi-culti cast of women friends. Each woman has a complicated and sometimes haunting background story as they come into the present.

The Hands is one such back story. It is based upon the real-life experience of many women I have met, myself included, who idolized their fathers as little girls, but who as adults had to come to grips with the reality that Daddy was just a man, a flawed human being. It is a pivitol moment for both daughters and fathers, and I wanted to look at it up close. I also wanted to explore the ideas of memory, loss, and forgiveness within the confines of the father/daughter relationship. This story seemed the perfect way to do just that.

4. What is your single favorite line from your film?

It’s the last spoken words of the film: Joy and sadness are not exclusive of one another. One can be happy to be free of the imprisonment, but still long for the familiarity of the captor.

It applies to a lot of different kinds of relationships.

5. What movies would you say have transformed or changed the way you see the world?

Room With A View was the first film I remember seeing and thinking that I would love to create something that could transport the viewer so completely to another place and time, and relay the longings and experiences of the characters to the viewer, both visually and emotionally.

Daughters of The Dust and Eve’s Bayou left a longing in my heart for the experience of actually becoming a filmmaker. Both of these films drove me to begin the dig, to figure out how story and picture become one.

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CHICAGO BLACK HARVEST FILM FESTIVAL

The Hands had the honor of being given a slot on the 2009 Opening Night roster of films a few weeks ago.  That, in itself, was an honor.  Then the countdown whirlwind began with everyone within a hundred mile radius trying to get their hands on a ticket for this event that was basically soldout before the programs were even back from the printer.  After sending out more "sorry" emails than I ever wanted, the reality hit that I was really bringing my project back to my home crowd.  Butterflies in my stomach doesn't begin to describe the nerves I was feeling.  After I figured out what to wear (I am a girlie-girl to my core), I was on my way with my dates--she who gave birth to me, and she to whom I gave birth.  

The Gene Siskel Film Center in Chicago was buzzing with energy and excitement.  It was the 15th Anniversary of the Black Harvest Festival, and there was a reverence in the air for what had been accomplished during that time.  Awards were bestowed.  One went to actor Hill Harper, who joined the festivities via a humorous and heartfelt recording, as he was stuck in NYC taping his hit show "CSI:  NY."  The other went to maverick local journalist Hermene Hartman.  The latter was given out by Chaz Ebert, noted Chicago attorney, and wife of Roger Ebert.  As I sat there in the room, witnessing these powerhouse women with whom I was sharing stage space, I was completely humbled.  As Chaz noted, this was an especially special night.  The festival has become known for launching and fostering wonderful new talent.  We were sitting in the house that Siskel and Ebert built watching films that were born of fresh, new voices...and then my film cued up to play.  When I was called up to the podium to speak about my project, I left my body and began to watch from  above.  The words I spoke were coming from the mouth of a new director who had somehow found her way to living and making good upon a dream that once had seemed only remotely possible.  The faces in the audience were engaged.  The energy still palpable.  I still don't recall what I said as coming from my own mouth.  I remember it as being from that woman up on the stage.

A few minutes later, The Hands was on the screen, in living color.  Thanks to the unbelievable technical powerhouse that is the projection and sound of the Siskel Center, I saw my film as it has never been seen before.  Crowd smiled when they were supposed to smile, winced when they were supposed to wince, and cried when they were supposed to cry.  Doesn't get much better than that.

Followed up the screening with a too-much-fun radio interview later in the week with the ever wise and ever funny Brian Babylon, http://vocalo.org/explore/content/46214.  We had so much fun, in fact, that he has invited me back to do some adlib media-talk.  Brought back the good 'ol days in the basement of the University of Wisconsin School of Journalism where my friends and I spent a summer running a daily radio news show.  Fun then.  Fun now.

Finished up the week with a little birthday celebration.  Thirty-three is a good place to be.  I think I'll stay.

LA SHORTS FEST--THE NAKED TRUTH

The L.A. Shorts Fest was a great festival.  The Hands screened on the opening Friday night, in the block after Demi Moore's directorial debut.  It was partnered with some really great films, which is high compliments for our work.  Very cool.  Got great feedback, and a few requests for screeners (screening copies) by a couple of studio people.  Always good.

Here's the part I wasn't expecting.  I received a little email with a pictorial gift that I could have done without...someone who felt the need to make his privates, well, public.  I have a friend who is an anchor at CNN who has been dealing with a few oddballs (no pun intended) of her own, and it all just leaves me perplexed.  I just don't get it.  Is this supposed to make someone more appealing to the recipient?  WTF?!  I have found new ways of screening my mail that will hopefully keep that from happening again.  One friend joked that receiving the x-rated fan mail means you have hit a new high in popularity.  I'd rather have a golden statue.

Five Dollar Footlong + Entourage=FUN

Was under the weather on Friday, so I missed the opening night at the International Black Women’s Film Festival.  After having to cancel all of my travel reservations, I re-booked, switched hotels, and was back on my way Saturday evening.  It’s a short plane trip from L.A. to San Francisco.  Just as we entered the Bay Area, I was treated to the most incredible sunset I have ever witnessed.  An orangey blaze across an aubergine sky.  Felt otherworldly.  Checked into the Clift Hotel…just in time for the party, apparently.  It made me wish I could travel with an entourage.  I so get why folks who find success in the entertainment business often bring with them their closest friends.  For one thing, it gets lonely.  And, then there is also the fact that inside jokes without an accomplice are a little pathetic, as they are only inside your head.  Plus, if you are only in a place for a night or two, the kind of connections that are there for the making are not normally of the kind that a happily married woman wants.  I have never had a problem taking myself to a movie or dinner.  I learned at the age of sixteen that solo movies can be quite a treat.  But, there are times when you just want another human who knows you to bear witness to what you are exploring and experiencing.  My oldest daughter was with me for a festival in Lake Arrowhead, CA a few months back.  The sheer white-knuckled terror we experienced heading up the mountainside to 6000 feet above the rocky valley below is now fodder for us to laugh about until we are doubled over.  We must have looked like a really bad Thelma and Louise meets Twin Peaks smash-up…and speaking of Twin Peaks (and that is where it was filmed), we were convinced that the woods held the most treacherous of mass murderers, just waiting to make furniture and clothing from our body parts.  (We are avowed city people.  It’s official.)  And who else would have had a mutual attack of the juvenile sleep-deprived giggles over the suddenly funny “$5 footlong” Subway song.  Point is, you had to be there…with someone. 

Next...

I have now been on the festival merry-go-round for three months.  The line that keeps coming to mind is, "Be careful what you wish for."  And, I don't mean for this to sound as though I am ungrateful.  I am anything but that.  I am simply experiencing what a lot of newbies discover.  You make this film that you are passionate about.  You hone the best writing you can muster.  You choose the most talented people to work with to make it shine.  You get on set, and the ups and downs are incredible. Passions flare, urging one another to do work that is better for it. When post-production time arrives, the excitement of dissecting and melding the initial vision with the reality of what was captured is at hand.  Editors call this part "polishing the turd."  Not very eloquent, but it must be what it feels like to be given hundreds, sometimes thousands, of tiny pieces to make one coherent whole.  It is said that a movie is written three times:  the screenplay by the writer, the shooting by the director (and cinematographer), and the final meld by the editor.  I always understood this.  The part I didn't really consider, albeit naive of me, is the running around the world to talk about it phase.  But it has to be done, especially in this age of YouTube.  Everybody and their brother, twice removed, feels that they are a filmmaker.  I have talked to folks who claim that they have done 8, 12, 20 movies.  Then I find out that they turned the digital cam upon themselves going to the loo, and called that "film." But, legit movies with rich stories and characters are still competing for the same viewers' attention.  And to do that, you have to run around the world talking about the film you put your heart and soul into.  All of the people who gave time and effort to the film deserve for me to give it that effort.  And, I owe that to myself so that I can continue to tell stories that otherwise wouldn't get told...kind of the mantra of Lotus Girl Films.

So, my days have shaken out like this:

•Joining a women's brainstorming group, as an offshoot to a networking group of women in the industry.  (More about this in the next post.)

•Research at the Academy of Motion Picture Arts and Sciences on my next project, a political thriller

•Watching old suspense/thriller/political films as inspiration and research (maybe the best perk of the job)

•Supporting other women directors...go see "The Hurt Locker" directed by Kathryn Bigelow!

•Polishing a script for a table reading next week with actors

•Trying to make the moments that I spend with my kids happy and connected ones

•Trying not to rely too heavily on caffeine, even the green tea kind

•Trying not to freakout when my four-year-old lands us in the ER with a "broken chin" on the 4th of July  (four stitches and a few days out of the pool, and he's fine; mommy is still re-living watching the numbing of the wound--oy!)

•Talking to other writers and story people about new projects

•Talking to folks about money for the next projects

•Getting ready for two festivals coming up in the next 10 days

All in all, it has been a good couple of weeks.  A good night's sleep, or two, and I should be ready to talk it up some more.  At the end of the day, the whole scene is just a heap of "high level problems."  Like I said, be careful what you wish for.  You will probably get it.  And then some. 

Someone asked me so long ago, why was there even a need for "Black" film festivals.  I answered that the film market still seems to forget that the world is made up of many stories, and that universal stories can be told from the vantage point of any human capable of experiencing it...thus making it universal.  We need places where it is alright not to be one of the boyz in tha hood, no disrespect to those who are.  In so many festivals, a brown face on the screen means marginalization, generalization, and the assumption that whatever story that brown face portrays couldn't possibly be one to which the average non-brown face could relate.  Sometimes, white festival programmers and directors just don't see us as individuals.

Just before I left Chicago, I received a photo from the director of a festival I screened The Hands at a couple of months ago.  The envelope was addressed to me...the only Black filmmaker at this particular festival.  To my surprise, the envelope contained a picture of the only other Black women to attend the festival besides myself and my daughter. I will post the pic of the women and a pic of my daughter and I when I get back to Chicago.  I will let you be the guest as to how far we have come in truly seeing each other...or not.

Hollywood Black Film Festival

Yesterday, sat in on sessions with "The Guilds"--SAG, WGA, DGA.  Tons of info, especially helpful for indie filmmakers who may utilize the low-budget agreements.   Also loved the panel with Antwone Fisher (Training Day 2),  Preston Whitmore (This Christmas), Rockmond Dunbar (Pastor Brown), Brett Dismuke (VP-Acquisitions, One Village Entertainment).  Lots of talk about the changing face of distribution due to the folding of major video sale outlets such as Coconuts and Blockbuster, and the move to digitization of film download as the consumer-driven way to view film at home and on the go.  There was also a very important lesson for filmmakers, as shared by a screenwriter who, early on in his career, chose to negotiate his own distribution deal...only to lose out on all of the international revenue for his film, which was also the only real revenue that his movie had.  I doubt anyone in the room will be repeating that one, thanks to his willingness to share his bumps along the way.

I stopped today to tell Tanya Kersey, the Director of the festival, what an incredible job she and her staff have done in organizing the festival.  Everyone is so happy to be here, and thoroughly enjoying the panels, the films, and meeting other filmmakers.  She responded that the filmmakers are the stars of the HBFF.  It's a treat for folks like me who love what they do, and appreciate the appreciation.  I am getting really excited and nervous, anticipating Saturday's screening.  I hope people show up!

Almost forgot!  I will be taking The Hands to San Francisco July 17-19 for the International Black Women's Film Festival.  Sooooo honored to be one of only four shorts chosen for this wonderful, necessary film festival.  Stay tuned...

Cannes Recap

Now that I have had a minute or two to sleep off Cannes, the jet lag, and the French wine that is required in order to be considered polite, I am considering what the take-aways were for this festival.  I have come up with the following, as a start:

1.  Creativity in funding and distribution are the new games across the land.  The old studio method of thinking and doing are really becoming archaic.  Thinking outside of the box is now a survival requirement.

2.  Violence, and more specifically, violence towards women, just never seems to go out of fashion.  The coveted premieres were blood, guts, and torture.  I suppose that fact that we are a world constantly at war, somewhere, will always make this so.  I am not against all violence in film.  I love a good cutting off of the ear when needed.  If the story warrants it, full-speed ahead.  But lengthy scenes of genital mutilation as torture?  Seems like lazy storytelling and filmmaking to me.

3.  The Asian market is about to take over the industry.  The infusion of huge capital alone will make this so.  Should be interesting to see the effect on "Western" product.

4.  American filmmakers need to organize themselves as a group, in order to take advantage of the European short film market.  In a big way.

5.  Hilary Swank knows how to work a red carpet.

Cannes De-Virginization Complete

Last night in Cannes, we were hanging out in the American Pavilion, and I run into a guy hawking his own short film.  Unbeknownst to me, he is a USC grad, knows my entire crew, and even worked on the film I Executive Produced, Kwame.  Sometimes you have to fly half way around the world to meet folks from your own backyard.

Later that night, we made our final pilgrimage to cáfe-land on La Croisette, where I had the distinct pleasure, not, of walking into a basement to use the toilette...only to find a Frenchman in the dark, with only his cigarette lighting the way.  Yeah, didn't stay for that show.

Last day of hustling the Short Film Corner.  We screened The Hands in a private screening room.  Not a big audience, because we were relegated to an early morning slot, but still respectable.  Note to self:  By the time folks are into the Cannes groove, fewer and fewer bodies are there in the morning hours.  It was still amazing to be there, though.  Not one person who had a part in making this film was left out of my brain in those moments. Everybody remembers their first time...

Take the good with the bad...

So, after a night of listening to drunk people racing their scooters and singing drunken French songs just outside my window, I got up to prepare for my Le Pitch filming for ShortsTV.  Very odd.  You know when you think you are prepared, but you don't get the response you thought you'd get?  Yeah, well that pretty much sums it up.  Understandably, because I am in France, the excitement seemed to be saved for French writers and directors.  Whatta ya gonna do?  Well, I went and got a croissant, and started my work for the day.  Funny how the sting of a lukewarm reception can be eased with a lovely pastry.

Today, I will be working to target the foreign sales agents and distributors for short films. In Europe, short films are truly respected as an art form, and they have many outlets to market them and share them with a viewing public.

I saw a couple of well done productions in The Short Film Corner yesterday--The Coup De Grace was my fave.  Today I am going to see one called Le Quota, which poses the question, "Is France racist?"  It is supposed to be a thought-provoking piece.  It is definitely an interesting component of this film market.