Interview with “Mildred Richards” Director Marc Kess
Interview by Greg Carlson
The inventive “Mildred Richards” received honorable mention in the Narrative Short category at this year’s Fargo Film Festival. Director Marc Kess will be present at the 8:15pm screening of “Mildred Richards” on Saturday, March 6 at the Fargo Theatre. Kess spoke with us about the creation of his movie.
“Mildred Richards” reminded me of Guy Maddin’s work as if it had been shifted from the silent era to sound melodrama. What are some of the films and filmmakers that have inspired you?
I had the opportunity to speak with Guy Maddin about black and white filmmaking at a screening of “My Winnipeg.” We talked about achieving an archival look with new footage. I also spoke with Jim Jarmusch at a Director’s Guild screening of “Broken Flowers.” He shared some stories of his experience projecting black and white film, which was very helpful. Jarmusch influenced my decision to develop my film at DuArt Laboratories, which is the same lab where he has developed film.
It’s pretty clear that classic film noir influenced the look of “Mildred Richards.” Cinematographer Tom Hurwitz and I screened the opening scene of Joseph H. Lewis’ “My Name Is Julia Ross” (1945) to convey my ideas about the rain sequence.
Some classic film noir pictures that I like include Nicholas Ray’s “In a Lonely Place” (1950), Carol Reed’s “Odd Man Out” (1947), Billy Wilder’s “Double Indemnity” (1944), Anthony Mann’s “Raw Deal” (1948), and Fritz Lang’s “Fury” (1936).
“Mildred Richards” takes the enterprising approach of marrying original motion picture imagery with a vintage radio drama. Tell us a little bit about how you decided on that particular piece to make your first “radio film.”
Although people have told me “Mildred Richards” has an intriguing plot, is well acted and beautifully shot, it is truly unique because it is the first Radio Film Picture, a new form of filmmaking. It is the result of what happens when you take a medium (radio dramas) that has largely been forgotten and combine it with a medium (film) that some, especially with the advent of HD, are trying to push into the dead media realm.
During development of Radio Film Pictures I quickly discovered I was working in uncharted territory. Because “radio film” breaks with some traditional filmmaking techniques, the process necessitated its own terminology and film grammar. For example, “Narrative Action,” “Shot-to-Fit,” and “Off Camera Synch Sound” are terms inherent only when shooting a Radio Film Picture and were used for the first time on the set of “Mildred Richards.”
Can you tell us about the actual shooting of a movie that already has a pre-determined soundtrack?
Even though “Mildred Richards” has a pre-determined soundtrack, most of the basic filmmaking elements are the same. You still have to break down the script and budget, find the cast, secure locations, assemble wardrobe, and collect props. Filming any period piece on a low budget is going to be a challenge.
One of the things I found ironic about our shoot is that we filmed in a mansion located in the middle of a nature preserve. With regards to sound it was absolutely perfect, no noise whatsoever, a filmmaker’s dream, and yet it didn’t make a difference for us because we weren’t recording sound. We did, however, use a reference track and a three-beep lead in to the lines for the actors.
The photography of “Mildred Richards” really contributes to its tone and mood. How did you come to collaborate with ASC cinematographer Tom Hurwitz?
I mailed Tom a production packet that included a marked-up script, shot lists for every scene, storyboards, a shooting schedule, some of my notes on the visual design concepts, and a lot of other stuff that he probably didn’t need to see. I wanted him to be confident that I was organized and would not be wasting time on set, working out anything that could have been done before principal photography. Shortly after receiving the packet, he invited me to his house and we discussed the story, the look, thematic elements, and the concept of Radio Film Pictures in general.
It was both a creative opportunity and a challenge to work with Tom. Even though I was a new director and he was a master DP, Tom brought enthusiasm and respect to the project. We collaborated really well together. He never tried to direct the actors and I never tried to light the set.
What was the best screening of “Mildred Richards” you have attended?
I have enjoyed all my screenings of “Mildred Richards” but I think our best will be here in Fargo! It’s certainly an amazing experience to see “Mildred Richards” in a venue as beautiful and historic as the Fargo Theatre.
The first screening of “Mildred Richards” will be something I remember for the rest of my life. New Filmmakers, NY organized a private screening at the SoHo House, NYC, with admission limited to SoHo House club members and invited guests. The email I got stated that the evening was to “showcase the work of promising up-and-coming filmmakers.”
Kat Wisener, my beautiful leading lady, was sitting to my left and cinematographer Tom Hurwitz was sitting to my right. Producer Jill Schissel, who worked tirelessly from minute one and who is unfaltering in her support, was sitting on the other side of Tom. So there we were sitting in the back row, in these expensive black leather seats in a posh private club watching our film. I remember the first minute of the film seemed like eternity and then the rest just flew by.
Later that night, Jill told me that she looked over at me three or four times during the screening and that I had a smile on my face from ear to ear. I wish that every filmmaker could have the same first screening experience that I had. It’s really a blessing.
You can learn more about Marc’s work by visiting www.radiofilmpictures.com.