Originally titled NIGHTMAN, the film THE UNSPOKEN grew out of a unique collaboration between Chicago playwright/actor/teacher Steven Ivcich and Frederick Marx. Marx took Ivcich's acting class in 1988 in order to learn more about directing from the actor's perspective. The two became friends, and Ivcich approached Marx in 1992 with the idea of writing a screenplay for him to direct. The story idea originated with an image Ivcich had "of a man sitting in a chair in the middle of a room without moving or speaking." The scriptwriting process continued for about 3.5 years. Ivcich generated much of the story and script's raw material, while Marx restructured, rewrote, and added new scenes and dialogue. The feature film is Marx's first as writer/director and Ivcich's first as a screenwriter.
Under his new company Warrior Productions, Marx established an Illinois Limited Partnership and began fundraising in April 1996. Raising the nearly $1 million budget took about 14 months. All the money came from individuals, primarily Illinois residents. The project investors generally share a love of artistic cinema with a basic trust in the business and artistic acumen of filmmaker Marx. The leap of faith they took to support this artist at work is commendable.
The production was initially supported by grants Marx received from the Guggenheim Foundation and the National Endowment for the Arts. The NEA grant in particular helped jumpstart the fundraising process. Marx was in the very last group of individual filmmakers to receive such grants before the NEA discontinued the practice in 1995.
Pre-production began in earnest in July 1997 and lasted for two months. The two biggest hurdles proved to be casting and locations. After unsuccessfully casting in Chicago, New York, and LA for the central role of Jean, Marx took the risky course of hiring Russian actor Sergei Shnirev without even meeting him. Shnirev, a repertory member of his country's most prestigious theatre, the Moscow Art Theatre, auditioned for the role on videotape. He first had a friend translate the script for him and then phonetically memorized the movie's climactic final scene. Shnirev, a star of TV, stage, and screen in his native country, twice was nominated for a Seagull, his nation's highest theatrical award, and played the voice of ALADDIN in the Russian release of the Disney film. Recommended by his Scottish assistant Shaz Kerr, Marx discovered Shnirev in the little known Russian-Polish feature film SUMMER OF LOVE. For his role in THE UNSPOKEN, Shnirev, who spoke almost no English on this, his first trip to the U.S., phonetically memorized his lines. On the set he communicated with director Marx through interpreter Peter Fedyanin. THE UNSPOKEN is Shnirev's tenth film, his fourth as the lead.
LA-based actor Harry J. Lennix, who played Reverend Bob, is no doubt most known for his work on the hit television show E.R., along with Spike Lee's GET ON THE BUS. New York-based
actor Laura Hughes, who played Meredith, is most known for her stage work but also played in Jim Stark's arthouse hit COLD FEVER. Chicago-based Martie Sanders, who played Cory, is starring in her first film. Professionals and non-professionals alike from the central Iowa area played almost all the secondary roles. They give the film much of its local color.
The primary motel location was not found until two weeks before shooting. Situated just outside Grand Junction, Iowa, about 60 miles northwest of Des Moines, the motel, owned by Ralph Miller, hadn't been operative for over 20 years. Built in the 30s and originally called "Camp Cozy," the motel was on the route of the original Lincoln Highway - the U.S.' first transcontinental highway. It proved absolutely ideal for the film. Secluded, picturesque, and appropriately run-down, the motel was discovered practically "dressed" and ready to shoot. It came complete with a treasure trove of clothes, farm objects, furniture, and odds and ends dating back over 60 years. The property further included abundant surrounding cornfields and an old gas station needed for other locations, while the motel and adjacent structures provided dressing rooms for make-up and wardrobe, as well as providing additional space for production offices.
The assistance of state, county, and township officials in the surrounding area, along with the cooperation of innumerable locals, proved indispensable in bringing this low budget film in on time and on budget. The assistance provided by Wendol Jarvis and the Iowa Film Office staff was indispensable in this regard. An eight mile stretch of state highway bordering the motel was closed for the duration of the shoot, providing the rural quiet required by the story, enabling sync sound recording, and making the road itself available as a much needed set location. This is all the more remarkable given that the four week production occurred during harvest time when farming, the area's primary economy, is at its busiest. Perhaps the overwhelming local support was best symbolized by Shirley and Jerry Herrick. Mr. Herrick not only granted access to his cornfield surrounding the Miller property, he arranged for his employer Kim Reuter to provide a free crane. Mrs. Harrick not only participated as an extra (along with her husband and son), she twice baked brownies and sweet rolls, bringing them as a midnight gift to the crew working a nightshift!
The production was further blessed with the meticulous eye and experienced hand of cinematographer Rob Sweeney. Sweeney won the Best Cinematography Award at the 1996 Sundance Film Festival for his last film COLOR OF A BRISK AND LEAPING DAY. He was also nominated for a 1997 IFP West Spirit Award alongside the cinematographers for FARGO, BOUND, and DEAD MAN. He has shot music videos for Michael Stipe and his band REM.
Production wrapped October 19, 1998. Editing proceeded at The Lookinglass Co. with editor Greg Snider who edited SCENES FOR THE SOUL, the first feature of George Tillman and Bob Titel, the pair who subsequently made SOUL FOOD. THE UNSPOKEN was Snider's third feature film. The music was composed by feature newcomers Mark Messing and Max Callahan. Sound design was by Mark Messing and Seth Greene.
The film was completed in September 1998.
