Interview (Part 6): Mynette Louie

In September 2013, I interviewed New York-based independent movie producer Mynette Louie. Shortly thereafter, Mynette was named president of Gamechanger Films. Their mission statement:

Gamechanger provides equity financing to narrative feature films directed by women. We support the unique artistic voices of talented directors who happen to be women, no matter what kinds of stories they choose to tell.

Women comprise 13.5% of DGA membership, 6% of directors of Top 250 grossing films of 2013, and 5% of directors of Top 100 grossing films between 1994–2013.

Women comprise 18% of directors of narrative features at film festivals between 2011–12 and 10% of directors of indie features between 2009–2013.

Gamechanger aims to shift the huge gender disparity in the film industry and marketplace.

The company scored a hit with their very first movie Land Ho!, co-written and co-directed by Aaron Katz and Martha Stephens. They have three other movies in the pipeline: The Invitation, Fresno and Lovesong.

Given the prominence of gender under-representation in the film and TV business, and the success of Gamechanger Films, I thought it would be a good idea to revisit my conversation with Mynette.

This week, we are fortunate to have as our interview guest Mynettte Louie, a New York-based independent film producer. Her film credits include Children of Invention, California Solo and Stones in the Sun. Most recently, Louie produced Tze Chun’s crime thriller Cold Comes the Night starring Alice Eve, Logan Marshall-Green, and Bryan Cranston which will be released in the U.S. in early 2014. Mynette is the recipient of the 2013 Independent Spirit Piaget Producers Award and was named in Ted Hope’s list of “21 Brave Thinkers Of Truly Free Film“.

Mynette and I recently conducted an interview via email.

Today in Part 6, Mynette shares some thoughts about what she looks for in a screenplay:

Scott: How hands-on are you in working with filmmakers in script development? Are there any tips or guidelines you’ve discovered over the years in terms of how to successfully develop a story or is it an organic process from project to project?

Mynette: I’m as hands-on as I can be given all the projects I have to juggle. Remember, development doesn’t pay the bills, so it’s hard for indie producers to dedicate lots of time to it. But I do read and give notes on every draft of the scripts I take on, and sometimes I solicit notes from others and compile, digest, and interpret those for the writer. I try to propose solutions to the problems I identify, and sometimes even rewrite bad lines. My biggest pet peeve is telling instead of showing, and I’m kind of a Nazi about that. I’m also a grammar freak, and therefore a compulsive copyeditor. I get hung up on logic a lot too. I guess my development process is pretty organic because I try to tailor it to what’s most effective for each particular writer. Some of them ingest feedback really efficiently and effectively, others get defensive and you have to let them marinate on the notes a little longer. Sometimes, they’ll dismiss a note and the problem will show up on screen. Let’s just say that’s happened to me more than once! Producers often have to resist the urge to say, “I told you so.” Listen, their names come before mine in the credits, and audiences will ultimately hold them responsible if the film sucks. So while I do my best to persuade them toward my viewpoint, I’ll let it go before they do because, hey, it’s their funeral.

Scott: How important to you are the characters in a script? What are you looking for when you read characters?

Mynette: Very, very important. These are the beings who take you through the journey of the story. You have to relate to or be engaged with them. Their motivations should be clear. The POV(s) through which you frame the story should be clear. As a producer, I look for characters that great actors would want to play because the vast majority of indie films are still financed by way of cast attachments.

Scott: Relative to other script elements, where does dialogue sit in terms of its value to a script?

Mynette: Hmm, tough question. All elements are valuable! I do love great dialogue. But there are also films with very little dialogue that I love.

Scott: How would you define theme and is that something you are consciously looking for when you read a script?

Mynette: I guess to me, the “theme” of a story is its essence, what it’s ultimately about underneath all that plot. You know, what are you trying to say about humanity or society or existence? Yes, I do consciously look for this when I read a script. Or rather, it should look for me. I shouldn’t have to work too hard to figure out a story’s theme; it should make itself apparent naturally.

Scott: Obviously budget considerations are critical in any film project, especially in the indie world. Based on your producing experience, what tips could you provide screenwriters about what choices they can make to minimize budget versus what elements they may include which tend to blow up a production budget?

Mynette: Well, the obvious things to exclude are special and visual effects, stunts, kids, animals, scenes on or in water, and time periods other than present day. Limit your locations, characters, and extras. Driving scenes and elaborate shots can up take extra time because of the additional logistics involved.

Scott: What advice can you offer to aspiring screenwriters and filmmakers about learning the craft and breaking into the business?

Mynette: Don’t pander; be true to your creative self. Watch a LOT of movies. Make a movie! Seriously, just take your iPhone and do it. Don’t wait around too long for someone to give you the green light. Don’t get suckered in by big names and empty promises. Don’t attach deadweight producers who won’t bring anything to your project. Be proactive in getting your film off the ground, even after you’ve attached a real producer (we are all spread thin and could use your help). Also, hone these traits.

Scott: Where do you see yourself in 5–10 years? In an ideal word, what are you doing?

Mynette: In an ideal world, I’d still be doing what I’m doing now. I love producing films, and I hope that I’m able to sustain a career doing just that. But if I can’t do that, then I’d like to be in an occupation that involved helping content creators sustain their careers.

Scott: What do you love most about being involved in the film business?

Mynette: Taking words on a page and making them live and breathe. Working with people who are passionate about what they do. Engaging in healthy debate over creative ideas. And the potential to illuminate the human condition and create something that people will continue to enjoy long after I am gone.

Thanks, Mynette, for a terrific interview and great insight into the world of movie production.

For Part 1 of the interview, go here.

Part 2, go here.

Part 3, go here.

Part 4, go here.

Part 5, go here.

To learn more about Mynette, go here.

You may follow Mynette on Twitter: @mynette.

[Originally posted September 21, 2013]