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Interview With “Mississippi Damned” Filmmakers Tina Mabry and Morgan Stiff

LGBT film festival-goers and anyone who follows independent film are already well aware of the new feature Mississippi Damned, written and directed by out filmmaker Tina Mabry. Along with Mississippi Damned producer and editor (and Mabry’s fiancee) Morgan Stiff, Mabry has made a film that’s winning awards and critical accolades for its realistic depiction of families struggling with addiction, violence, racism and poverty in the rural South.

AfterEllen.com recently talked with Stiff and Mabry (who also wrote the hit lesbian feature film Itty Bitty Titty Committee) about the making of this highly personal film (which includes a butch lesbian) and their plans for their production company, Morgan’s Mark. AfterEllen.com: How did you and Morgan come to meet and work together? Tina Mabry: Morgan and I met at USC where we developed a personal and professional relationship. Not only did I think she was an incredible person, but she was also an extremely talented filmmaker with an unstoppable drive. The first project we did together was Brooklyn’s Bridge to Jordan, which was also the first film that the producer and executive producer of Mississippi Damned, Lee Stiff, executive produced. The three of us made a phenomenal team and we decided to create our own production company, Morgan’s Mark.

Some people ask Morgan and me how the two of us maintain being partners in both senses of the word, but for me it’s simple: Morgan brings out the best in me and never lets me settle for anything less than what we want to achieve. When I feel down, she has a particular reassuring approach that re-instills my confidence. The dynamism and strength of our working and personal relationships have fostered a nurturing environment that allows us to produce thought-provoking and emotionally engaging films.

AE: Are you at all surprised by the success of Mississippi Damned, or the response it’s received? Morgan Stiff: From the beginning, Mississippi Damned was a labor of love for us. We were not going to cheat it in any way. We were dedicated to making a quality film from the acting to the production design to the writing to the editing. We have given our all to this film and were lucky to bring other creative talents on board who believed in what we were trying to do just as strongly. So with that said, I’m not surprised by how the film has been received. When so much love and talent and creativity go into something you only hope others will appreciate what we all set out to do.

I can truly say I am proud of this film, and as my own hardest critic, that’s saying a lot. I also find how the film is being received encouraging. I’m encouraged that audiences are ready for a new type of narrative and that will fuel us as we set out to make our next project.

TM: After hearing the positive responses to the script, it sort of foreshadowed the response of the end product. When people read the script, they were completely sucked in by the rich dialogue, the multi-dimensional characters, and the overall authenticity of this world I conveyed. I feel this is one of the reasons why our cast members were initially drawn to the film. The emotional journey these characters have to embark on presented a welcomed challenge not only for me as a director, but for the actors as well.

Once we started production, it reinforced our belief that we had something special. There were days when the crew was so touched by what was unfolding on set that they were brought to tears. The scenes felt so real on set that there were times when I forgot to yell “cut” because I was so engrossed by what I saw. So it’s been great to have audiences see and respond to the film they way we do.

AE: Speaking of authenticity, your attention to detail in the film is amazing. You really create a specific time and place and its not something we usually get to see with independent films with limited budgets. What do you think was your magical formula for making that happen in Mississippi Damned? MS: When Tina was writing the script for MD and we were discussing whether we were going to try to make the film ourselves or find someone else to make the film, we knew early on that we would remain honest in the telling of the story, revealing the characters, and creating their world.

In fine-tuning the script, Tina, Lee, and myself were constantly making sure that there were no false beats. When we brought on Bradford Young as our director of photography, and Aiyana Trotter as our production designer, we talked about how we wanted this film to feel real and authentic.

We often spoke of it as if it were a documentary. We knew that for the film to be successful it was necessary to create a visceral feeling for the audience. To do that, we had to make sure we paid attention to what might seem like the most minor detail. So the magical formula was being very clear about what story we were telling, very clear about how we wanted the audience to feel, and then bringing on skilled artists who understood that vision and help bring it to life. TM: This wasn’t a script I wanted to see in the hands of another director because in order for it to be properly executed, the director would need to have an intimate knowledge about this family’s life. I had literally lived and breathed this life so I felt I was the perfect person to direct it. We set out to have this film feel like a documentary; we wanted the audience to feel like they were in this world.

I sat down with our cinematographer and production designer and talked about every single detail, from incorporating peeling paint on Junior and Delores’ living room wall to depicting the grease stains on the stove in Charlie’s apartment. I found that these elements also helped the actors further develop their characters. It didn’t feel like a set to them, it felt like a home because everything was so detailed.

I’ve had years of practice in observing details. I tell people that when they walk into anyone’s home, to pay close attention to what they choose to showcase and to what they neglect to showcase, because what you glean from that can very well tell you a little bit about their life story.

AE: Tina, it’s obvious that your familial and cultural roots have a very strong influence on your work as a writer and filmmaker. Has your family and/or community in Tupelo seen your films? TM:When I was growing up I used writing as a means to escape some of the adult issues I had to deal with as a child. As a kid I didn’t have any control over what was happening in my life, but when I would write, I got that control by manipulating situations to go the way I wanted them to. If it weren’t for the hard situations I grew up experiencing, I wouldn’t be a writer. I think of my past as a blessing disguised as a burden.

With that said, my familial and cultural roots have an extreme influence on what I’m able to create as a writer and filmmaker. This is one of the many reasons why I enjoy showing my films to my family. I’m extremely thankful and grateful to have a family who champions my career – they’ve seen and supported every single one of my films, including the first film I made during my first year at USC.

I have to confess that showing Mississippi Damned to my family was a different experience. I was nervous and hesitant to show it them. I wanted them to like the film from a moviegoer perspective, but I didn’t want to cause a rift in my family because I chose to publicly reveal the dirt we swept under the rug. They knew I was writing the script and they knew we shot the movie, but visually seeing the completed film would be different.

Over the holidays I had a chance to share the film with my family and, thankfully, they loved it. It was difficult to watch certain scenes of the film because we had to re-live those moments, but they were happy the film was truthful and honest in its portrayal of how our family and several other families unfortunately had to live.

A few of my family members said seeing themselves portrayed onscreen was like having a mirror held up to them for the first time. They were able to see themselves as they actually were, which, by their own admission, helped them better understand the reasons behind their actions. AE: You were on track to becoming a lawyer when you were going to school at U. Mississippi, then you wrote the novel Seven Days. Is that what changed your career trajectory towards writing and filmmaking? TM: I’ve always had a love for films and I have my mother to thank for that. Movies were one of the ways we bonded; movies made us discuss things we had never talked about.

When I applied to the University of Mississippi, filmmaking was not an option, and I didn’t feel like it was a plausible career for me so I chose to go the law school route. I started writing a novel, Seven Days when I was a sophomore. I didn’t want to show it to anyone other than my best friend, and he encouraged me to show it to our African American literature professor.

I timidly gave it to her because I was afraid she would hate it. But she liked it and saw potential in me as a writer. She recommended me for a creative writing class where I could further develop my skills, and it was there where I really found out I had a great ear for dialogue and a strong sense of story.

At the time, I couldn’t really name any female directors because men directed most of the films I watched. Even though I was taking this class, I still didn’t plan on becoming a filmmaker but two films changed my life and showed me a door I didn’t think I could ever walk through: Boys Don’t Cry and Love and Basketball. These films made me believe that a woman could be a powerful filmmaker if given the correct training. I read everything I could find about Kimberly Peirce and Gina Prince-Bythewood in order to figure out what path to take, which led to me applying to the graduate film production program at USC.I used Boys Don’t Cry to teach me how to take a true story and translate that into a screenplay.

AE: What movies did you watch growing up that made an impact on you, or that you see traces of in your work now? TM: Though it may seem strange, I was a complete horror movie fan as a child. I loved the thrill and the entertainment of those types of films. But when I was seven years old, I saw a film that has not only stayed with me for all of these years, but also unveiled emotions I didn’t know I had: The Color Purple. Twenty five years later and I can still quote that film, it had that much of an impact on me.

But I watched so many movies growing up it would be easier to list the movies that didn’t impact me than the ones that did. From Goodfellas to Terms of Endearment to Bastard Out of Carolina to 21 Grams to Amores Perros to City of God, a multitude of movies have influenced me in one way or another. I do my best to learn from them; I try to figure out why each of those films stand out to me. I think the common thread between all of them would be strong characterization and this is why I strive to have integral component in every movie I make.

AE: How did you make the shift from writing novels to writing screenplays, and was that change difficult to make? TM: There were a few hard shifts I had to make from writing novels to writing screenplays. I had to learn how to develop subtext and to cleverly incorporate exposition into the script without it feeling forced. In a novel I could just write what I wanted, when I wanted. But I had to drill in the concept that if the audience cannot see or hear it, it doesn’t exist. Even though it wasn’t an easy shift, I love writing screenplays more than novels. AE: You were at USC film school when you made your award-winning thesis film, Brooklyn’s Bridge to Jordan. Some directors say that it isn’t necessary to attend film school to master the craft. Would you encourage a budding filmmaker to go to film school? TM: For me, I had to go to film school to master the craft of filmmaking because while I had stories, I lacked the actual knowledge needed to create a film. I needed a structured environment in which I’d be taught the fundamentals, be required to deliver on a schedule, and be exposed to a supportive community of up-and-coming filmmakers. But I also know several people who started out at USC and dropped out because they felt they could learn more by jumping into the industry and letting experience be their guide.

Film school is not for everyone and going to film school doesn’t guarantee success. There are a plethora of well-known directors who never went to film school and, on the other hand, there are many well-known directors who did. I don’t agree with anyone who implicitly says to do one way over the other. I believe it’s strictly dependent on the individual and the environment they thrive best in.

AE: How did you get involved with POWER UP and Itty Bitty Titty Committee, and what was the experience of writing that film like for you? TM: I was in my last semester at USC when I heard Power Up was looking for someone to write a comedic feature, which would be directed by Jamie Babbit. I was a huge fan of But I’m a Cheerleader and even though I’d never tried comedic writing, I threw my hat into the ring. Itty Bitty was done on a limited budget so there were things that couldn’t be in the script. The experience was invaluable, because I had to learn how to maintain the integrity of the script while keeping the production needs in mind, and that came in handy when I made Mississippi Damned.

AE: Morgan, you attended NYU (Dramatic Writing) and USC’s School of Cinema-Television. Did you always want to be a filmmaker? Which writers/directors/films most inspire you? MS: When I was attending NYU I thought I was going to be a playwright. I fell in love with the theater and by my senior yea,r I was well on my way to Columbia to study dramaturgy. But because of a video production class that I had to take to graduate from NYU, I was forced to start looking at the stage as a vehicle vs. video and film. As corny as it may sound, I was studying writing because I wanted to change the world. I wanted to use my creativity to comment on society. After a lot of inner debate, I came to the conclusion that I was going to reach far more people through film and television than I could ever reach as a playwright. The people that I was creating my art for were more likely to go to the movies or turn on the television than have access to stage productions. While applying to graduate schools for dramaturgy, I decided to send in one application to one film school, and that was USC. When I got in I was finally forced to choose a side and I chose the medium that would allow me to reach the most people.

Because of my background, the artists who inspire me come from different disciplines. I appreciate people who can tell a good story, no matter what the nature of their voice may be. Playwrights Suzan-Lori Parks and Chey Yew may be the most inspirational, along with poet Dante Micheaux, authors Sarah Waters and Piri Thomas, and musician Prince. My favorite films include L.I.E., Secretary, Capturing the Friedmans, and City of God.

AE: Do you feel the pressure to not talk about controversial subjects or represent traditionally underrepresented groups of people in order to attain mainstream success? MS: Our focus is always on the story. We’ll confront and explore whatever issues or subjects best serve the story we’re trying to tell. For me, it’s always important to focus on the work; to create something that has meaning to me and those who I am trying to reach.

Mainstream success will come if we continue to make a quality product that speaks to large groups of people. I can’t worry about achieving that success, only about creating meaningful material, and that’s what will ultimately feed my soul.

TM: We focus on telling good stories and we don’t worry about whether or not the mainstream will embrace us. I feel that most films should give people a voice and a way to say, “I’m here and I have something that needs to be heard.” We tackle the stories of real people and that’s what’s most important for us. The fact that we’ve started a production company dedicated to tell the stories of marginalized groups and proving that there is a place in mainstream media for these stories makes me feel like we’re on the right path, and that’s what matters most to us.

AE: Tell us more about your production company, Morgan’s Mark. Your company slogan is “Out of the margins, redefining the mainstream.” What does that mean to you? MS: Morgan’s Mark was founded by Tina, Lee, and myself in 2007. We’re dedicated to works that reflect the experiences of a variety of marginalized groups, proving that there is a place for those realities within mainstream media.

Mainstream films often reflect limited experiences. Who’s listening to the millions of people who are looking for something more, something that defines them? Morgan’s Mark is listening. We’re coming from the margins and redefining the mainstream. We are currently in development on several projects, and I’m very excited about Tina’s new script, County Line. TM: [County Line] is about how three murders cause a small Southern town to unravel when suspicion and secrets start to slowly pick apart the town and the local law enforcement. For the people in this town, the line between what’s right and wrong is erased by the brutal reality of their hard lives. I’m looking forward to making this film because, while it has a mystery element to it, it’s still set in an undeniably real world with the type of unique and complex characters found in Mississippi Damned.

AE: Tina, in your director’s statement, you said that writing and making Mississippi Damned allowed you to face your own demons and find your voice. Now, having watched the film with festival audiences and received accolades for it, how do you feel about your journey with making MD? TM: I’ve learned to accept my past and myself because of Mississippi Damned. For a long time I felt so ashamed of my life and my experiences, which limited my growth as a person. Making this film brought taboo issues to the forefront. By publicly exposing them, I was reminded that I was far from being alone in my adversities.

This has become especially evident at the screenings of the movie. The film seems to construct a safe environment for many audience members to confess their family secrets; it sometimes felt like a therapy session. I remember one of the audience members contacted me and told me that after she and her aunt watched the film for the first time, they finally talked about the “well-known but never discussed” molestation that occurred in their family.

It’s gratifying to know the film has allowed audience members to open a dialogue with their family. I feel people become more open to talking about these issues when they’re reminded that they’re not alone, and they have no reason to be ashamed of their past experiences. I think that’s one of the beautiful things about what we do as filmmakers.

Films have the capability to create change and bring people together. Films were a bond between my mother and me, and I can’t even begin to say how much it means to me to be able to create films that do the same thing for others.

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