Mention the fart swamp, and that’s the language of a child. What is funny is that my attempt was-how could the fantasy feel like reality? So much of the fantasy elements are grounded in the reality of my son. How did you come up with the fantastical elements in the story? You create a wondrous, imaginative world in “The Place of No Words,” with the poop swamp (that turns into something else), or magic hands that project light. It was the greatest play we could ever have. We really had swords and climbed mountaintops, and we were really on a mission at times. It was such a challenge for both of us, but so much fun too. We got so much out of having this experience together. It’s not “take my child to work,” it’s making a work of art with my three-year-old son.
Teresa and I are so lucky to spend time with our children. You need to be open to the process of how that happens-find the silver lining in things. I’m always going to show up for my children. In a way, I got parenting advice from him not being around. I tell my dad now that “Flesh and Blood” was the beginning of us starting to have a relationship. Do you think you are a better dad because you are so close to your sons? This is a father/son film, but viewers who saw “Flesh and Blood” know that you did not have a relationship with your father. In this day and age, I think we can all benefit from being open and personal and honest. I wanted to create work that starts a conversation. It’s a vessel for me - it opens you up and causes you to reflect on your own life and the stories we tell ourselves. I wear my heart on my sleeve and having deep, meaningful conversations and connections with people. But what are the benefits and drawbacks of this approach? It may be cathartic, but it can also be seen as too personal.įor me, I don’t think it can be too personal. We talked before about your “reality cinema” and how it is healing. This is your third film after “The End of Love” and “Flesh and Blood” where you make a fictionalized film starring members of your family. In advance of the film’s World Premiere at the Tribeca Film Festival, Webber talked with Salon about his provocative new film.
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“The Place with No Words” is a film that will make viewers think about how to process adult things through the eyes of a child and approach the world with childlike wonder. Webber’s relationship with Bodhi feels genuine throughout viewers eavesdrop on their shared moments, experiencing real emotions in the process. It is never overly sentimental as it depicts Bodhi’s curiosity about life (and death), Mark’s effort to create memories for his son, and the pair following the quest of finding one’s path in life. Webber’s impressionistic drama is both an emotional and fanciful father/son story. The world is light years away from the reality of a hospital bed where Mark’s character is being treated for a terminal illness, or their home, where Mark, his wife Teresa, and their son Bodhi play games indoors or out. Throughout “The Place of No Words,” Mark is Viking Dad and Bodhi is his Viking Son, and the pair are seen traveling across a difficult landscape that includes a farting swamp, fizzleberries (that create colorful dust when eaten), creatures called Grumblers, and other magical elements. He calls his approach “reality cinema.” Webber often showcases members of his own family in his features-from his son Isaac in his sophomore effort, “The End of Love,” to his wife Teresa Palmer in “The Ever After,” and his biological parents and real-life brother in “Flesh and Blood.” For his latest project, “The Place of No Words,” Webber cast himself, Palmer, and their 3-year-old son Bodhi, in a story that toggles back and forth between reality and fantasy. Actor-turned-director Mark Webber mines his personal life for the films he makes.
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