Mark Wilson is an independent movie maker whose latest film is a drama called Wade in the Water. We had a chance to talk with him about his career and the film. Here’s what he had to say.
Hello, Mark. When did you get the directing bug and how did it all begin?
I was always into films and especially horror films around 12 years old and that’s when I started playing with my parents VHS camera. I’d get my friends to act for me then they would get over it very quickly seeing how long the process took. So I resorted into doing more stop motion films with LEGOs and action figures to tell a story.
You’ve produced a number of short films in the last fifteen or so years. What do you like about the format?
I’ve made mostly shorts because that’s all I could really afford as an Indie Filmmaker. I enjoy the short film format but I mostly treated it as good practice to get me ready for a feature film.
In three words, how would you describe your directing approach?
This is hard. HONEST, PREPARED and OPEN.
If you were to take me to a movie with the star or crew member of the film, which movie would we be watching and who would be sitting with us? Why?
Well it’ll probably be Chris Retts, Writer & Producer of WADE and myself watching the latest horror film to hit theaters. We both share a passion for a solid/well written horror film and that genre is what will actually be our next project together.
Your debut feature length film is Wade In The Water. Tell me about how this came to you and what made you decide to direct.
I’ve been collaborating on many screenplays with, Chris Retts and we kept writing big budget films and we weren’t getting them made. Surprise. No names, never made a feature film, etc. etc. Chris disappeared on me for a month … pure radio silence. I thought he was pissed at me. Then out of nowhere he calls me and says, ‘I have written a screenplay that we can begin shooting tomorrow!’ I was shocked, scared and excited. I read the script and was terrified … not because it was bad because it was something I had never done before style wise. I usually will lean towards inspiring happy go-lucky type of films … and this was the opposite of that. So it excited me to tread on unknown territory. That’s where WADE IN THE WATER came about.
Let’s talk about the lead, Tom E. Nicholson. It’s a terrific bit of casting that he seems utterly consumed by. Did you give him absolute direction on how to develop the nameless character or was he free to find him on his own?
Tom and I conversed on many ideas but mainly Tom brought all of his little idiosyncrasies to the character and that’s what made him stand out on screen. Even OUR MAN’s wardrobe was Tom’s idea.
I truly admire how you and screenwriter Chris Retts refuse to make his appearance what defines the character but rather his actions that make him memorable, though I understand the value of his size as an important element of what he is. Were there issues for you in keeping that balance?
There definitely was a balance to be aware of that I had in the back of my mind because it’s a serious storyline and to focus on Tom’s appearance would totally discredit the serious matter that’s present in the film. Also it’s sad to say but lead roles aren’t usually given to people like Tom so we didn’t want to default to focusing solely on his size. It’s part of who he is for sure, but there’s so much more to OUR man and I wanted to make sure we kept that in mind in every scene.
I was also taken by the magnetic allure of Danika Golombek, who equally shines as a girl with much on her shoulders. Tell me about working with her and the relationship she built with Nicholson in keeping their on-screen chemistry so authentic.
Danika is a true delight to work with. The script was originally written for a 16-year-old and when we came across Danika during casting we decided to re-work the script, so she can play Tilly and we we’re so glad we did that. During filming we’d be setting up for the next shot Danika and Tom would go chill in the Buick (car in film) and run lines and then I would show up and rarely give any suggestions. They’re so good at their craft, so they definitely made it easy on me and their chemistry came naturally during their first table read.
There are a number of troubling issues at play in the story and yet you wisely let these moments be unseen, leaving us with only the consequences and aftermath. I think that has more impact. Not really a question, but interested in the process behind that decision.
I think being a low-budget indie film, I think if we showed these troubling issues play out on screen it can come of a bit cheesy and lose the audience immediately. Plus, I don’t want to resort to flashbacks … I feel that’s a crutch for lazy screenwriting.
Agreed. I love the aesthetics of the film and several moments where Nicholson, as the unnamed lead, walks up to a mirror to look at himself, the mirror of course the camera and our eyes on his. It forces us to judge him, doesn’t it? As he probably does himself. Was this your intent?
Yes, definitely we wanted this to be the time we really get to look OUR MAN in the eyes and see what he’s going through, and we have him do this many times throughout the film. It’s the only time we really see him be vulnerable, in shock, scared because outside of that bathroom he carries a tough guy persona.
I greatly enjoyed the film and was deeply taken by the humanity of the man and the girl, the incredibly bizarre circumstances that brought them together, and the way it held them close yet in uncommon ways. I couldn’t help but wonder where these characters will be in the years to come, something very rare for a movie to do. Again, no question, but curious as to your thoughts on the planned ambiguity of the storytelling.
I’d want to say they’d be pen pals for life but I don’t think that works for our character Tilly. She’s such a mature/strong woman, I think she got what she needed from Our Man at that time, but I think she would carry on with her life and not look back. And then Our Man would probably try to write to her and get no response and then that’s when it hits him he is now officially on his own in prison. But these we’re just thoughts that popped into my head as we were deciding what each character’s journey would be … nothing official.
Mark, I could talk with you all day about the film and thank you greatly for the chance to learn more about you and the movie. Good luck and I hope our paths cross again.
This film took a total of 17 days to films and I am truly proud of the cast and crew that came together to make this happen. Thanks for taking the time David to ask these questions, and really dig into the film. It’s very flattering and we appreciate your comments.