This is a transcript of SYS 501 – Deep Into Writing A Remake The Dive With Maximilian Erlenwein.
Welcome to Episode 501 of the Selling Your Screenplay Podcast. I’m Ashley Scott Meyers, screenwriter and blogger over at sellingyourscreenplay.com. Today I am interviewing German writer director Maximilian Erlenwein. He’s on today to talk about his new film – The Dive. It’s an underwater thriller where two sisters go scuba diving and one gets stuck at the bottom of the sea with limited oxygen. We talked through his career a little bit he started in Germany and worked his way up. So, we talk a little bit about how the German film industry works. And then his latest project The Dive. This is a project that he got involved with, where there was already a screenplay that had been produced in another language. So, he adapted that screenplay into an English language, screenplay, and then ultimately film so we talked through that process a bit as well. So, stay tuned for that interview.
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Ashley
Welcome, Maximilian to the Selling Your Screenplay Podcast. I really appreciate you coming on the show with me today.
Maximilian Erienwein
Thanks for having me.
Ashley
So, to start out, maybe you could tell us a little bit about your background. Where do you grow up? And how did you get interested in the entertainment business?
Maximilian Erienwein
All right, so yeah, I grew up in a little town in Germany, and I love movies and films since I was a kid. But I never thought that I could make this I’ve never thought that this was a career opportunity for me. And even in my 20s I thought wow, you know what you had to do to be accepted in film school so difficult. And it seemed like only the top artists are able to do this. And then I you know, I just started to internships and you started as a camera assistant for lousy TV and like, bad documentaries and stuff. And I grew into it. And then yeah, and then I applied to film school, and I was lucky that they accepted me. And then yeah, I did my first feature film and my second feature film, and then there was like a kind of a valley after that, because I tried to make things happen. And I was on a few projects, which is didn’t happen and financed, which was hard to have to say. And then but I did a lot of commercials during that time. And that was kept me over water.
Ashley
Gotcha. So maybe we can just dive in a little bit on some of the things you said so this was before you went to film school, were you out of high school. So, you’re in your early 20s and you start getting these jobs working on these bad documentaries bad television, maybe you can talk about that it sounds like well, maybe these were not great projects in their finished form. It was a good learning place for you. Maybe you can just talk quickly about that. How did you find those sorts of opportunities? How did you get yourself onto those sets even just doing assistant camera work? Did you have some experience in high school? Did you do a couple of student films or something but just give a couple of tips and maybe give your experience on how you actually got some of these early jobs?
Maximilian Erienwein
Yeah, okay, so I didn’t have any experience in high school, I just loved films and I had no idea you know in the beginning. I went to the university and started like film study yeah but It wasn’t my thing because it was not about how to make films how to make this emotions that I felt how where to put the camera it was all about you know interpretation and at some point that’s not the right, that’s not what I want, that’s not the real thing. Those guys who teaching you they never been on set they don’t know anything about filmmaking and then yeah, as I said I did this internships and the camera assistant stuff for but it was like to not camera system for film like not 35 millimeters or something just like the EB… I don’t know if it’s the same like electronic broadcast. They are just like new stuff. stuff and you know, sex and crime stories for TV, but I did learn to, you know, because I had a very good cameraman would like, teach me. And I learned how to frame stuff and I learned to make to create images was less effort was less budget and just on the fly fast. And I think it helped me when I got into film school to have this experience. And I have to say, so all the sex and crime stuff, I got into touch with really crazy people, you know, I don’t know how many murderers I interviewed. And I don’t know, I traveled a lot in Europe, you know, to Romania, and to Africa and did like really crazy stuff, which was not like journalistically well done, which I hadn’t really problems with, was always a sensational stuff, exploiting almost like problems with it. And I was really happy when I got to go to film school.
Ashley
So, then talk about that transition, how did you get to that first feature film that you got to write and direct? Did you still fund it and you don’t a bunch of shorts that you have a script you pass around to producers raise funding in sort of a traditional way, but just take us through that first feature film? How did you get that first feature film off the ground?
Maximilian Erienwein
Well, I did a few short films before my feature who were quite successful. And festivals, I mean, not super successful, but it was alright, and you know, I did it 30 minutes film before because I thought I can’t get a 30-minute film, it’s like a better like showcase, but it can be quite longer form. But it was a classic narrative. So, it was not like, really, like, did feel so much like short film, but like a promise for something and then the longer format. And then, in Germany, you know, the film schools are very well connected to the German TV and we have like, what are we had or still have, like, ZTF that’s the second big broadcast in Germany, and you have the, it’s called as Kleiner schpeel. It’s a tiny slug, you know, where you get like, I don’t know, 600,000 euros when you’re lucky to make your first or 800,000. And I was lucky enough to get this opportunity. So, I made my feature. That actually was that in the time, you know, it was like 2005 or 2004? I’m very bad with everything that’s passed.
Ashley
Okay. Well, that’s a great story. Maybe you can just give us a couple of tips. I mean, in the United States, and I interview European filmmakers often and they talk about some of these government grants and just supporting the arts more, and we don’t really have that in the United States. So, it’s not something that I know anything about, but definitely for the European listeners, maybe you can talk through that process. How do you get to that point where you get accepted? What I always sort of hear from people, especially the people that don’t get accepted, is they always have this sort of attitude that it’s very political. It’s who you know, and stuff, but maybe your experience is different. How did you actually get this grant to go make this feature? Was it based on your short films? Was there some bit of knowing the right people? Was it the film school? Was it the letter your professor wrote? Maybe you can give us a little insight into that.
Maximilian Erienwein
I mean, of course, it’s always about knowing the right people, right? I mean, there was this one guy from the from the television called Luca Schmitt, one of the…I don’t know the English term for it, like the broadcast guy, and he liked my short film, and I pitched the idea from a feature film to him, and then it took some time. And of course, you have to be lucky in a way to get the funding. But then there is not that financial pressure on it, you know, it’s not like, I guess not like in the US where it’s real money that is invested in the film has to get the money back in a way. In Germany, there’s a lot of cultural funding services to just for younger filmmakers, and younger artists. And that, of course, helps. I mean, not everything in that system is good. I mean, there are a lot of counter arguments how this affects the whole industry also. Because, yeah, I don’t want to get into this too much. It helped me, helped me a lot, I have to say, and I’m very thankful for that system.
Ashley
Gotcha. Gotcha. So, let’s dig into your latest feature film, The Dive. Maybe to start out you can give us a quick pitch or logline. What is this new film all about?
Maximilian Erienwein
It’s about two sisters going for a dive and they have an accident and one is stuck on the water and the other one has to do everything possible to bring oxygen down and to rescue her sister.
Ashley
And so where did this idea come from? What was sort of the genesis for this story?
Maximilian Erienwein
So, it’s based on a Swedish film called Breaking Surface. So, it’s an adaptation. And the company you had the remake rights approached me with the screenplay. And, you know, for me as a, you know, I’m just a normal German director, you know, for me the opportunity to do an English language firm is of course, an opportunity, you know, you getting curious about, and then it was about diving and I did a lot of diving in my when I was younger, and I saw something I have to do. I mean, the harbor to show this underwater world and to have do to, to create an immersive experience for the big screen underwater seem like an opportunity I could not decline this, I had to do it. And that was like, bringing me over the step because it’s a remake. And, of course, it’s not super attractive to do a remake of the existing film already is great and worked. But this I couldn’t put down and I started, like being creative with a screenplay and came up with my own ideas. And I thought, okay, let’s definitely do this.
Ashley
So, on IMDb, it’s listed as Joakim Hedaan is that… he’s the fellow who wrote the Swedish version? And that’s what these producers came to you with?
Maximilian Erienwein
Exactly. He is writer and director of …
Ashley
Gotcha. So then was your background in scuba diving? Was that something that these producers knew? Or was it just sort of a coincidence that you also had this background with scuba?
Maximilian Erienwein
Oh, no, it was actually a coincidence. They approached me because of my previous films and series.
Ashley
But they didn’t know necessarily that you had scuba experience too?
Maximilian Erienwein
Oh, they didn’t know. But I told him, immediately, I told them, and I thought, actually, that they knew and that they approached me because of this, but they didn’t. They were super excited, of course.
Ashley
How did you meet these producers that you’re even a position for them to approach you with this?
Maximilian Erienwein
Well, I didn’t know that before because I heard them, it’s a company called oxide from Cologne. And they are specialized in English language films produced with German money, so I say, it’s a really well working business model, because they’re really, really clever guys. So, they take German money, doing an English language film with also like financing from English, US distributors. But then the risk for the partners in US and UK is much less because of the German film funding, if you lose the money. It’s not real money, so to say, it’s so yeah, and I think this works. They’re very successful with it.
Ashley
Gotcha. So, how did you approach the changes? So, they came with a screenplay, was it even written in English or German that you could read it? Do you have to get a translate, but maybe talk through some of those steps. What were some of the changes you made? What are the what was the condition of the screenplay when you got it? What were some of the changes you made? And why did you make those changes?
Maximilian Erienwein
Yeah, the screenplay was already in English, because when they did it, initially, the first Breaking Surface, the plan was already to do it in English, but then they didn’t get the financing. And they decided, or Joachim decided to do it and as a Swedish film, so then the idea was already there before. So, there was an English screenplay. And it was basically the shooting script of Breaking Surface. So, I read it before watch the film. And it was really solid. It was really a page turner. And, you know, then I watched the original, the film, and I thought; Oh, it’s great film. But I said, I could bring something to the table also, like, as a diver to make something different out of it, and change the characters. That was my first step. And the idea was, like Breaking Surfaces, only shot in a tank. And I thought, okay, if I could do this for real in the ocean, that would be something, I really like to do to give it a bigger scale to convey this fascination for the oceans that I have. And yeah, and then it was just like being creative with the screenplay and see what I came up to. And then I was very, very focused on the emotional journey through the two sisters and how they could get together again, through the traumatic experiences.
Ashley
Now, when you’re working with these producers, and again, it sounds like you didn’t have a prior relationship with them necessarily. So, they come to you with this project. They sort of tell you about it. You say, yeah, I’d be interested in this. And then do you pitch your ideas for the screenplay? And is that part of your sort of interview process like they had said, sent this out to a handful of different writer directors and wanted to get them get your take. And I’m sort of asking is, you know, when you’re going in with your pitch to these producers about how you’re going to change the screenplay, is that part of the interview process? Or have they already hired you and you’re basically just doing the work now trying to get this thing ready for production?
Maximilian Erienwein
No, they already hired me. I mean, maybe in the first calls, I have them, I came up with my approach. And maybe they could have also like said; No, we don’t want to do this. But my impression was that I was they wanted to do it with me. I think they approached other directors who put it down, who declined it, who didn’t want to do it before. But you know, when they approached me, I had the feeling that I wanted to do it with me. And it was pretty clear that we go this route together. And then working together with them. And you know, they are very good and developing stories. And we did it together.
Ashley
Gotcha, gotcha. And what is your approach to something like this in terms of screenplay structure? And I’m curious, did the screenplay come pretty well structured, but there’s the Blake Snyder, Syd field, they have their sort of paradigms, very rigid paradigms for structure. How do you approach something like this, especially a genre film like this, how do you approach structure? How do you the Act breaks, the plot points and that sort of stuff?
Maximilian Erienwein
Well, you know, the original screenplay already had a pretty solid structure in like the pure bone, the skeleton of the survivors thriller, and all the little things they do, you know, what’s there was already pretty solid, but I wasn’t like, I thought I could do something with the end. And I could do something with it with the characters. And when I do screenwriting, I know, I read it all. Yeah, and I read Syd fields and Robert McKee and tons of books, but it’s not that I’m so aware of it anymore. It’s somehow in my back heads. And I think I have a good intuition, you know, about the rhythm and the pace and the twists and the acts and the structure of a screenplay. But you know, I myself am more interested in films who are breaking the laws of those Syd field laws. And I think nowadays, if you are too limited by those rules, it’s not that interesting for me anyways.
Ashley
Gotcha, gotcha. So, I’d like to end the interviews just by asking the guests if there’s anything they’ve seen recently that they thought was really great. Is there anything you’ve been watching recently, you can recommend to our mostly screenwriting audience, Netflix, HBO, Hulu, anything out there that you’re watching?
Maximilian Erienwein
Oh, yeah, this is freedive documentary on Netflix. It’s a few weeks, you know, it’s called… what is it called? The last breath or something? It’s about this real freediving couple, this world class freediving woman and she falls in love with a safety diver. I don’t know. I think it’s the Last Breath or something like this. But that really all that was so good.
Ashley
Okay. Yeah, that’s a good recommendation. I’ll have to check that out. So how can people see the dive? What is the release schedule going to be like for the dive?
Maximilian Erienwein
Well, you know, I’m a little bit in a bubble here right now, because I’m in Prague preparing the new series I do. And there is a US release. But to be honest, I have no idea how big it is. And I think it’s coming on Friday 25th.
Ashley
Perfect. Yeah. So anywhere videos are available on demand. I’m sure you guys will be getting there. And what’s the best way for people to keep up with what you’re doing? Anything you’re comfortable sharing, I will put in the show notes so people can click over Twitter, Facebook, Instagram, any of those types of accounts?
Maximilian Erienwein
Well, to be honest, I’m not really social.
Ashley
I can’t say I blame you.
Maximilian Erienwein
Just for fun just for me for I don’t promote anything. I mean, I doing now the second season of the Empress for Netflix. That’s what I’m doing now till February, shooting still February, and then the post production.
Ashley
Gotcha. Perfect. Well, we’ll get your IMDb link in there, people can definitely follow along and just kind of see what you’re up to. So, I really appreciate you coming on and talking with me today. Good luck with this film and good luck with your future projects as well.
Maximilian Erienwein
Thank you very much.
Ashley
Thank you. We’ll talk to you later. Bye.
SYSs’ from concept to completion, screenwriting course is now available just go to www.sellingyourscreenplay.com/screenwritingcourse. It will take you through every part of writing a screenplay, coming up with a concept outlining writing the opening pages the first act, second act, third act and then rewriting and then there’s even a module at the end on marketing your screenplay once it’s polished and ready to be sent out. We’re offering this course in two different versions. The first version, you get the course plus you get three analyses from an SYS reader. You’ll get one analysis on your outline and then you’ll get two analyses on your first draft of your screenplay. This is just our introductory price, you’re getting three full analyses, which is actually the same price as our three-pack analysis bundle. So, you’re essentially getting the course for free when you buy the three analyses that come with it. And to be clear, you’re getting our full analysis with this package. The other version doesn’t have the analysis, so you’ll have to find some friends or colleagues who will do the feedback portion of the course with you. I’m letting SYS select members do this version of the course for free. So, if you’re a member of SYS select, you already have access to it. You also might consider that as an option. If you join SYS select you will get the course as part of that membership to a big piece of this course is accountability. Once you start the course, you’ll get an email every Sunday with that week’s assignment. And if you don’t complete it, we’ll follow up with another reminder the next week, it’s easy to pause the course if you need to take some time off, but as long as you’re enrolled, you’ll continue to get reminders for each section until it’s completed. The objective of the course is to get you through it in six months so that you have a completed power screenplay ready to be sent out. So, if you have an idea for a screenplay, and you’re having a hard time getting it done, this course might be exactly what you need. If this sounds like something you’d like to learn more about, just go to www.sellingyourscreenplay.com/screenwritingcourse. It’s all one word, all lowercase. I will of course a link to the course in the show notes and I will put a link to the course on the homepage up in the right-hand sidebar. On the next episode of the podcast, I’m going to be interviewing Tom and Charles Guard. They are writer at directors from the UK. And they’re on next week to talk about their new film called – Dead Shot, which is a political thriller that takes place in 1970s. London. We talked about this film as well as their careers and how they got their start. So, keep an eye out for that episode next week. That’s the show. Thank you for listening