Due to my quest to consistently highlight those in this business who may inadvertently get overlooked, I adore seeking out the crew of film and television in order to acquire more of an understanding of the people who labor behind-the-scenes to provide high-quality entertainment that we fans so readily enjoy in the comfort of our own homes. Monika Mitchell is a director whose body of work encompasses a plethora of styles and genres (much of which I have seen and savored), and recently, she agreed to answer a few questions about her career journey within her chosen profession.

RH: Why did you decide to pursue a career in the entertainment industry?

MM: I have been obsessed with stories–especially movies–since I was a child, but it wasn’t until later in life that I realized making movies was an actual job. In January 1996, I attended the Sundance Film Festival, and for the first time writers and directors became human beings that I could talk to and that were just like me. I went every year through 2002 and saw hundreds of movies. What was more important than the brilliant ones were the terrible ones. It was amazing to know you could try at this, fail, and not die. In 1998, I left my “day” career and in January 2000, Night Deposit premiered at Slamdance and won the first “Anarchy Audience Award”, and I was hooked.

What was your first work that you directed professionally, and what are your memories of it?

My first feature, Break A Leg, was the first movie I earned a “salary” for that I didn’t write and produce myself. My memories are that it was insanely hard and a constant struggle to stay in my voice. There are two clearly delineated groups of people from that project: those who helped, and those who hindered. I think it is a miracle that the film survived and was completed, yet now I watch it and knowing what I know, I am still tremendously proud of it. It won awards, it made people laugh and I think it did what it was supposed to do. To this day, I always tell people, “the learning curve between zero movies and one movie is a steep incline, perpendicular to the Earth. The learning curve between one movie and two movies… not so much. And even though you are always learning it becomes even more gradual with each movie thereafter.”

I believe the first film I saw of yours was Sugar Babies, and I also saw Mother of All Lies. While Hallmark audiences know you for romantic comedies, what are the benefits and challenges of directing thrillers for Lifetime?

A change of pace is always nice. Hallmark romantic comedies are sweet fairy tales, glossy and luxurious–the big sumptuous ending is always fun. Lifetime thrillers are more pace-driven, tense and stylized–there is always one big action sequence that is exciting to shoot. I embrace the opportunity to do both because as an artist, they offer a nice yin and yang. Wonderful people work in both genres. Both networks are great. And while they are different, I wouldn’t say the “challenges” are different. Whenever you make a movie, the challenge is always–how do we execute the vision with the resources we have?

Ties That Bind and Date My Dad are still beloved shows from UP that unfortunately only lasted a season. What is most memorable about these shows for you as a director?

Well, the exceptional and memorable Barbara Fisher was the Exec on both. And both of those shows have genius women showrunners whom I continue to stalk professionally. They are my idols and inspiration. Working for these women was like a spiritual breakthrough for me. Sheryl Anderson and Nina Colman…I would quite literally do ANYTHING for either one of them. What I remember most from those shows is being in heaven.

Hallmark audiences were introduced to your work in the film All Yours. First of all, were you a Hallmark fan before directing this movie? What was the most fun part of directing this film?

I was always interested in Hallmark and working with the network. All Yours, like many “firsts,” was a bit of a learning curve in terms of the standards and expectations of the network for their movie. However, the producers at Lighthouse Pictures, who remain dear to me to this day, allowed me to bring aboard some of my most favorite department heads, so in that respect, I had a “dream team” that was a collaborative delight. And I really enjoyed the forthright honesty and support of my star and producer, Nicollette Sheridan. She’s an extremely smart woman who had the ear of the network.

Hearts of Christmas was your first Hallmark Christmas movie. What was special for you about this shoot? 

All casts are special, but on that movie- Emilie Ullerup, Sharon Lawrence, Kristoffer Polaha, Crystal Lowe, Chris McNally, Rachel Hayward… honestly I’m afraid to go on because I could name every single one of them in the credits…were champs. It was a tough shoot–very hot August and they were in winter woolens, locations well out of the city, long days–but they REALLY stepped up. Not one person phoned in one line in that whole movie. I have tons of respect for them.

You have the distinction of directing the highest-rated Christmas movie so far on Hallmark–Royal New Year’s Eve. (I checked the numbers.) Why do you believe this film resonated with the viewers like it did?

What a wonderful statistic! I’m going to quote you on that myself. Rick Garman’s script was fantastic. I think it did so well because even though inside every Christmas romcom is a fairytale, this movie dropped all pretense and just OWNED the fairytale! Albeit modern day, with a prince and princess and castles… it was a confection, a GORGEOUS movie. The cast, Jessy Schram, Sam Page, Cheryl Ladd, are fan favorites. Lighthouse, the production company, really put the money on the screen so the production values are delicious. Lincoln Lageson, our executive, is very committed to the brand and very clear about how to deliver. AND we shot it in November–so it was actually cold! It was just that magic alchemy of elements that came together to make a great movie. It was a real treat and I’m so glad audiences responded to it.

What can you tell us about your upcoming works?

With Producer Simon Richardson on the set of Christmas Joy

This Christmas will be a big one for me… the two movies above will run again, plus Hallmark’s new one, Christmas Joy (based on the novel set in my home state of North Carolina) with Danielle Panabaker and Matt Long and The Christmas Contract (for Lifetime) stars the One Tree Hill alumni cast–Hilarie Burton, Robert Buckley, Antwon Tanner, Daneel Ackles, Tyler Hilton, Elizabeth Harnois, as well as Cheryl Ladd and her daughter Jordan Ladd, Bruce Boxleitner and Jason London–and is set in the bayou of Lafayette, Louisiana. Christmas Eve is my birthday, so with four Christmas movies on the air this year, I might have to hunker down and torture my kids with a “Mom’s Christmas Movies” festival for the day.

 As a female director, what have been the challenges for you in the entertainment industry? How have you seen things improving?

This question is so hard for me. I’ve been directing for almost twenty years now and I know directing- for ANYONE is enormously difficult. And as for being a woman… it’s kinda like when people ask me if I like being tall; I’ve never tried being short. The question asks me to compare myself and my success to other directors, which I don’t like to do. I am more successful than some male directors… I am less successful than some female directors… I’m not sure what role exactly my gender has to do with where I stand versus my talents or my age or my race or where I live…? Is it all working for me or against me or both? There are things I would like to do I have not yet accomplished and I have dreams and aspirations like everyone. I don’t know if being a woman will affect my achievements or not, and I don’t know if now it’s “better” or “worse”. I can’t really think about it. I can only be me and be as ambitious and work as hard as I can. And whatever I accomplish will be what it is, but I will rest knowing I “left it all on the court.” I give it all I have, every time, so I can say “I gave it all I had” and mean it.

With star & producer Hilarie Burton on the Lafayette set of The Christmas Contract

Do you have aspirations to be involved in any other parts of the industry such as writing, acting, etc?

I also write and produce on occasion. I have no desire to ever be in front of the camera.

What is your advice to other young women who may wish to pursue a career as a director?

Direct. Direct everything you can. Direct with your phone if you have to. Direct anything anyone will let you. No experience is wasted and when a genuine opportunity presents itself, you will not only have the wisdom you need to do the job, but the proof you need to demonstrate you are committed to the craft.

On a personal level, I have heard so much about you (positive stuff) from everyone who has had the honor of working with you. How do you keep a positive working environment on set that nurtures creativity and camaraderie?

I love my job. Directing is one of the few instances where the process brings me as much (if not more) joy than the results. When I am directing, I learn every single day. I grow. My whole brain is fully engaged. I’m my best person. It doesn’t (usually) stress me out. (In fact, I find “life” much more stressful.) And because I am so happy in those moments I think it is contagious and that nurtures the creativity and camaraderie you mention. Plus, I love creative people; they are proof of God to me. And I think when someone is looking at you like you were a gift from God, it makes you want to bring your “A-Game”.

Within the past few years, I have interacted with a variety of people in practically every facet of the industry, and while I absolutely adore my actor friends, it is these assiduous directors who consistently surprise me when I interview them. And I mean that in the absolute best way. While all directors are committed to earnest work and excellence, I seriously don’t believe one director approaches this distinctive art in exactly the same way–which is as it SHOULD be. Moreover, perhaps the fact that I know relatively little about what it means to be a director is what guarantees my perpetual fascination with these diligent men and women and their respective responses to my questions.

In the case of Monika, she has provided some of the most thought-provoking and remarkable answers to my set of “standard” questions I tend to ask in these interviews, and because of her originality, I found myself lost in thought and completely captivated as I began to compile this interview post. While Monika may have come to the world of film and television a little bit later than some of her peers, her approach and philosophy regarding film and television directing is like a breath of fresh air that is even now challenging me to consider a few of my assumptions and evaluations of the film industry as a whole, and that ensures a spectacular interview. And of course, seeing how the subject of this discussion is genuine, articulate, talented, organized, and perceptive, that places Monika in a position where she can continue to be a favorite amongst the cast, crews, and networks alike. Her giftedness is undeniable, and her enthusiasm for the production of quality programming is undividedly admirable and laudable. 

I do hope that everyone who is able to will make a concerted effort to tune in to both of her Christmas films this year (Hallmark Channel in the U.S. is showing Christmas Joy on November 3rd, and Lifetime is showing The Christmas Contract on November 22nd).  Additionally, please be sure to watch for the repeats of her other Christmas movies and consider checking out her links below. Monika is one who takes her craft seriously, but more vitally than that, she fosters the kind of environment where all are valued and can freely present the best of themselves in every situation. Because Monika is committed to motivating everyone involved with her projects to be the most genuine versions of themselves and rise to the highest level of virtuosity, I believe that Monika will proceed to relish the kind of success she has been afforded thus far, and I am honored to be a modest part of her journey as I continue to watch, appreciate, and support the projects she devotedly brings to the fans year after year. 

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