Michael Selditch
Michael Selditch is an architect turned writer, producer, and director. He is a two-time Emmy Award-nominated producer and recipient of the International Documentary Association Award. He made his directorial debut in narrative filmmaking, "Fixing Frank," which bravely examines conversion therapy. Continuing his cinematic prowess, he brought to life the documentary, "Eleven Minutes," an exploration of designer Jay McCarroll. Selditch premiered “Happy Clothes: A Film About Patricia Field” earlier this year at the Tribeca Film Festival, chronicling the career and creative process of the renowned costume designer who brought to life characters on “Sex and the City,” “Emily in Paris,” and “The Devil Wears Prada.” His contributions to television include “Queer Eye for the Straight Guy,” “Catfish: The TV Show,” “American Style,” “Architecture School,” “I Love You... But I Lied,” “Nine By Design,” “30 Days,” “Project Jay” and more. He debuted his first full-length play, “Reality,” and continues to craft captivating narratives with his upcoming film, “The Boy in Burton’s Shadow,” based on a true story from the New York stage in the 1970s.
You were originally drawn to Patricia Field’s story after meeting her in 50+ interviews with other designers, celebrities, and experts. You turned to your crew after and said, “somebody needs to make a documentary on that woman.” What was it that made her stand out? What made you gravitate towards her out of a list of so many interesting people?
Yes, I interviewed Pat in 2018 for a four-part documentary series I made for CNN called, “American Style.” There was something magical about her from the moment she sat down for the interview. She was extremely knowledgeable about the history of style in America. And she was very, very funny. She was charming and her modesty endearing. As she talked about her own personal journey in New York retail and her work in the film and television industries. I realized how incredibly rich her contributions to fashion have been as a whole. I’ve always said, “talented” and “funny” are a great combination for a documentary subject so a documentary on her was a no-brainer.
In your director’s statement, you discussed your fascination with process. Is there anything that surprised you about Field’s process, or how your own process had to adapt to tell the story? What part of this process did you not expect?
I was an architect for 14 years before I transitioned to film and television. Both fields have long, rich, yet sometimes tedious processes that most people outside those fields never get to experience. What surprised me most about Pat’s process is her confidence. She always works from her gut and sticks to her guns. And while she’s a great collaborator with her team – she doesn’t really care about trends, rules, or loud opposing outside views. It’s inspiring and quite admirable to watch.
Field is unconventional in her style, and so was your film, particularly in the opening scene. In what ways have you aligned the style of this film with her style?
One of the things I loved about watching Pat is how she loves to surprise people with her choices. I decided to go for a surprise by starting the film in the bottom of a swimming pool, with Pat ultimately jumping in and swimming towards the camera. Primarily, I wanted to show how physically active Pat is, but I also thought it would be fun if for a moment if the audience thought they might be sitting in the wrong theater.
In the process of making the documentary, what were some of the most compelling or surprising stories or insights about Patricia that you uncovered?
Back in the 70s, 80s and 90s, Pat gravitated towards (and welcomed) people who were openly gay, trans, drag queens, club kids, strippers, etc. to work in her stores. Pat saw them as creative and interesting. Her adoration, celebration and support of people whom Molly Rogers lovingly calls in the film, “misfits” was exhibited well before it was fashionable to embrace diversity. As I watched a lot of archival footage for this film, I was constantly struck by how consistent Pat’s ideals and viewpoints have remained over the decades.
What were some behind-the-scenes moments or challenges while filming Patricia Field that might not have made it into the final cut but were significant in capturing her essence?
One of our earliest hurdles was getting Pat on board to make the film. But beyond that, the challenges we faced were no different than any documentary: last minute changes in schedule or difficulty gaining access to a location, etc. We did have an early cut that was about 45 minutes longer than the final cut, so we left quite a bit on the cutting room floor. But we wanted the film to be fast, colorful, and fun, leaving the viewers wanting more. One of the things I aimed for in capturing the essence of Pat was to embrace her straightforward demeanor that to some might consider verge on abrasive. Part of Pat’s charm is her frank and candid communication. It felt important not to edit her into someone too shiny and perfect.
This film premiered at the Tribeca Film Festival. How was it received, and how was that experience for you?
We were thrilled to have our world premiere at Tribeca Film Festival. New York felt like the perfect city to premiere the film since it is Pat’s home and is where most of the film was shot. The reception from all our screenings was exciting. We won three Audience Awards, among other prizes on the festival circuit thus far. And most of our screenings have been sold out. The audiences were enthusiastic and fun. People dress up to the nines.
What do you want the audience to feel after watching this film?
Captivated. Inspired. Happy.
Photography by Martin Copping
What have you learned by directing this film? In what ways have you grown as an individual and as a director?
Getting a film made is definitely a challenge. We followed Pat for nine months, documenting her at work and in her personal life. That kind of intrusion is a lot to ask of anyone. And it takes a devoted team of people on both sides of the camera. The longer I do this work, the more I realize that a big part of the job at the helm, is about giving and earning respect, and creating a shooting environment that makes everyone feel comfortable and heard. Especially when you’re documenting a real person, the trust you build is essential.
Do you have any advice for emerging directors?
I always tell students of mine to make stuff. I encourage anyone interested in this field to make as much as they can, long or short form, and put it out there for people to see. Anyone with an iPhone and a laptop can make a film these days, so the competition is greater than it used to be. You have to have a thick-skin though, opening yourself up to public criticism. On the flip side, one never knows what will go viral or get lots of love at a film festival, perhaps launching a career.
What initially sparked your interest in documentary filmmaking? What do you find most rewarding about telling stories through this medium?
As I mentioned above, I used to be an architect. And I think the process of making a building is similar to the process of making a film. Plus, both are at their core, all about telling stories. Yes, even architecture can make someone feel a certain way or recall a certain memory. Basically, it’s a rush to galvanize an audience to want to talk, debate, laugh, cry or reminisce. I think making people feel things is what all storytellers hope to do.
How did the vision for the documentary evolve from its inception to the finished product? Were there any unexpected turns or discoveries along the way?
My vision for the film didn’t change much from inception to the final cut. It was always my intention to follow Pat and shoot her at work and play, making the film primarily verité and treating archival footage like flashbacks or memories. One of the patterns that definitely emerged during post-production was that our editor and I found that the stories people told about Pat in interview were so much fun and compelling that the interview bites we ultimately chose tended to lean more anecdotal, than informational. The total effect hopefully makes the viewer feel like Pat is a friend.
Forbes called this documentary “one of the most inspiring documentaries of the year.” How does it feel to have received such high praise for your work?
Pretty surreal. You always hope for such praise with every project, and I was truly surprised and humbled when I read that. Of course, no film is made in a vacuum. A lot of credit goes to a talented team of producers, director of photography, and editor who all shaped Pat’s story with me.
What projects are next for you?
A narrative passion project of mine that’s been a decade in the making is coming together to be shot in 2024. I’ll be directing a script I wrote, “The Boy in Burton’s Shadow” based on a true story in the 1970s New York City theater world. It will star Alan Cumming (PhotoBook’s Dec 2023 cover boy!), Patrick Gibson, and Jared Harris, who will play the legendary actor, Richard Burton.
Interview by Richelle Hodson, Contributor, PhotoBook Magazine
Tearsheets by Alexa Dyer, Graphic Designer, PhotoBook Magazine
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