NEWS

Alumni: Marjorie Cohen

It’s been a busy three years for Marjorie Cohen since she won YDA’s 2nd prize in the Film School Non-European category with Step in the Right Direction spot for Converse in 2009. Now she has got her sights firmly set on getting her feature film off the ground and we find out how

Please tell us what you’re doing now and where ?

I’m currently living in Los Angeles, and I’ve decided to dedicate this year to taking a shot at the feature world. I have two short films that I’m shooting in the next few months, and one of them is attached to a feature script I started working on last year. My plan is to create some interest in the short, then raise money for the feature. It’s much easier said than done, but I’m determined to put in all my efforts to make this a viable possibility. If it doesn’t work out, I’m sure I’ll regroup and try another angle. But first, I’m giving it everything I got.

What were the key moments from winning at the YDA to the present?

Many things have happened since I received a YDA award in 2009, but a couple of moments in particular were very special to me. One of them was selling my first commercial. I’d made a spec for Nature Valley for a specific festival in which I was shortlisted. The client later got in touch with me because they loved what I did and wanted to use it as an online spot.

Another moment that comes to mind was when I bid on my first music video for Dutch artist, Caro Emerald. I had worked at other production companies helping directors create treatments for projects they were in the running for. So the first time I did it as a director was very exciting to me. I ended up not being awarded the job, but the process taught me a whole lot and it felt great to be considered.

Did winning the YDA help you in any way?

Winning the YDA definitely generates a great deal of attention, and I think it’s up to you to take advantage. I was approached by many production companies shortly after, and have developed relationships with some people I’d like to work with. I think it’s very important to wait for the right offer and not jump into anything impulsively. One of the companies that approached me set me up with a great post-production house, The Whitehouse, and enabled me to cut one of my spots there. It was very exciting to have my own editing suite there, where so many great commercials are finalized. I also got along very well with the editor, and now we’ve made plans to collaborate on the new projects I’m working on.

Which piece of work are you the proudest of and why?

I always hope that the last piece of work I’ve finished is the best. That shows that I’m always improving and growing as a director. That’s the case with this 1-minute short film (see top) I recently made for a Pespifilms competition. It was short-listed, and I’m very happy with the final result. I tried a few things I had never done before and I think it paid off.

What would your dream job/script be?

Right now, my dream project is a feature I’ve been working on with a friend of mine who’s a writer. I’m shooting a 10-minute short in a couple of months that acts as the prologue to the feature, but it’s also a self-contained story. If people respond well to the short and we can raise money to produce the feature, that would be absolutely amazing. I’ve always thought that I would hold off on feature films for a while to establish myself as a commercial director first, but the industry has changed in a way that facilitates the process for young filmmakers and low-budget movies. I mean this in the sense of there being many online venues that give movies exposure even without theatrical distribution. Taking all of that into consideration, I’ve decided to take a stab at it now and see where that gets me.

What is the most valuable advice you have been given about film making?

There is something a college teacher said to me a while ago that I always took to heart. He told us to avoid having a safety net because people inevitably fall into it at one point or another. When I started working at big production companies as a visual researcher and director’s assistant, I realized what he was talking about. There are so many people who set off to do one thing, but then lose their way. They go into other areas of production because it’s more practical or stable, then they find themselves stuck in that position. This is why I think it’s important to keep a very clear goal in mind and make sure everything you do leads you closer to that goal. People who don’t have that always end up getting sidetracked.

Who are the most inspirational directors for you?

When it comes to commercials, I look up to Ringan Ledwidge, Randy Krallman, Traktor, Craig Gillespie, Dayton/Faris among many others. I especially admire the ones who manage to divide their time between commercials and feature films, because that’s ideally what I would want to do. I had the privilege of working at a couple of production companies where some of these directors are repped, and I loved witnessing how excited they are about making great work.

Regarding features, my favorite director is Alfonso Cuaron, but recently I have developed deep admiration for many young directors who are just starting out and have been successful in the indie world.

What are you watching, reading, listening to? Where do you see ads or branding most?

I’m catching up with all the great movies of the year that are being nominated, such as The Artist, The Descendants, My Week with Marilyn, Bridesmaids, etc. Also, I’ve been watching many smaller films made by young directors, with often not a lot of money, like Tiny Furniture, Martha Marcy May Marlene, and a couple by the Duplass Brothers. These are the most inspirational and motivational ones to me at the moment because they show it can be done. Lena Dunham made Tiny Furniture at age 22 with a very small budget, and now it’s being released on Criterion Edition and she’s the star of Judd Apatow’s new show. That’s the kind of story that gets me going and pushes me to give it a shot.

I’m reading a great book about working with actors, which was recommended by a friend of mine. It’s called “I’ll Be In My Trailer” and it’s filled with anecdotes by both actors and directors talking about their best and worst experiences on movies. This is helping me prepare for the shorts I’m developing since I haven’t had a chance to work in-depth with actors while shooting commercials.

As far as watching commercials go, I’m always checking out new work. I make it a point to be familiar with what’s being made, and the people who are making it.

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