Hannah Marks is an actress, writer, and director known for her roles in the BBC America/ Netflix series “Dirk Gently’s Holistic Detective Agency” and films such as “Anesthesia,” “Southbound,” and “Hard Sell.” She was recently named one of Rolling Stone’s 25 under 25 for her work as co-writer/director of “Shotgun,” her feature directorial debut.
“Shotgun” will premiere at the 2018 SXSW Film Festival on March 9. The film is co-directed by Joey Power.
W&H: Describe the film for us in your own words.
HM: “Shotgun” is not a cancer love story, though it may seem like it at first. It’s really an exploration of a young marriage and how PTSD from an illness affects the relationship later. The main characters are 23-year-olds Elliot and Mia, who fall for each other under the cloud of life or death stakes.
W&H: What drew you to this story?
HM: Joey and I wanted to write something that didn’t end the way you thought it would, that wasn’t a traditional structure. We love blending romance, comedy, and drama together and wanted to see if we could accomplish a story where the middle of the film is a huge turning point instead of the final scenes.
W&H: What do you want people to think about when they are leaving the theater?
HM: I want people to feel like they just saw something honest, something that rings true. I’ve had many moments in my relationships and friendships that I’m not sure have been expressed on screen, and I hope people can recognize some of their own feelings in “Shotgun.”
W&H: What was the biggest challenge in making the film?
HM: Making our days. There was no option to not make our days. The script was close to 125 pages because it was so dialogue heavy. We had a ton of locations as well, due to having a “Bucket List” sequence, and spanning two years of the characters’ lives. Doing company moves in Manhattan and Brooklyn every day with a small crew and one camera always felt daunting.
W&H: How did you get your film funded? Share some insights into how you got the film made.
HM: Once Joey and I finished the script, our wonderful manager Zach Cox at Circle of Confusion sent it around to producers he thought would connect with it. We ended up working with Jordan Yale Levine, Jordan Beckerman, and Michael Rothstein of Yale Productions, and from there it all happened really, really fast.
W&H: What does it mean for you to have your film play at SXSW?
HM: SXSW has always been a festival I admired. It’s got the happiest energy and a real DIY spirit. I have only attended the festival before as an actor in 2016, so to come back with my own film fills me with joy. I feel honored to be in the competition lineup alongside such exciting work.
W&H: What’s the best and worst advice you’ve received?
HM: Best advice: Don’t wait for the phone to ring. No one is going to hand you an opportunity, so you need to make your own opportunities. You can’t wait around for anything or anyone. Ultimately, you have to get creative and be the one to make things happen.
Worst advice: “Don’t write that/don’t make that choice — it will alienate a certain audience.” I say this is the worst because I believe if you write or create your art worrying about how one group might react to a particular moment, then you are potentially watering down your own voice. I never want to lack specificity or nuance; that’s what makes something special in the first place. You’re also robbing the viewer from a different perspective and projecting something onto them.
W&H: What advice do you have for other female directors?
HM: The advice I have for other directors — of any gender — would be that you shouldn’t jump into something you don’t love. It can be tempting to take a job just to take a job but directing is a massive commitment. If your heart and soul aren’t fully in it you won’t do your best work.
W&H: Name your favorite woman-directed film and why.
HM: It’s impossible to name one, so here’s a selection! The “why” is because each one of these made me feel something different and stuck with me long after watching: “Thirteen” — Catherine Hardwicke; “Mustang” — Deniz Gamze Ergüven; “Big” — Penny Marshall; “Tiny Furniture” — Lena Dunham; “Fish Tank” — Andrea Arnold; “The Kids Are All Right” — Lisa Cholodenko; “Appropriate Behaviour” — Desiree Akhavan; “Marie Antoinette” — Sofia Coppola; “Selma” — Ava DuVernay; “Lords of Dogtown” — Catherine Hardwicke; “Lady Bird” — Greta Gerwig; “American Psycho” — Mary Harron; “Boys Don’t Cry” — Kimberly Peirce; “Clueless” — Amy Heckerling; “It Felt Like Love” — Eliza Hittman; “Across the Universe” — Julie Taymor; “An Education” — Lone Scherfig; and “Enough Said” — Nicole Holofcener.
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?
HM: I think the movements #TimesUp and #MeToo are incredibly important. The amount of money raised for the legal fund is inspiring and beautiful. This is the first time in history women are being consistently believed, and there’s action because of it. It’s vital for women and men to stand up against harassment in the workplace, and I support it fully.
The downside is the world we live in is so new, and changing quickly, that these movements have become a complicated topic in social media. Unfortunately, sometimes the message can get buried or convoluted under competing stories and agendas in the same way that the meaning of the word “feminism” is different for so many people despite only advocating equality.
I’m not sure what the solution is but I’m glad so many people from so many backgrounds are working together to make the world a better and safer place.
