IN CONVERSATION WITH IANTHA RICHARDSON

interview by JANA LETONJA

Iantha Richardson, beloved by audiences as Faith Mitchell on ABC’s hit drama ‘Will Trent’, is entering a defining new chapter in her career as she steps behind the camera to direct her first-ever episode of the series. Her transition reflects both her deep understanding of character-driven storytelling and a broader shift in television toward artist-led, inclusive creative leadership, marking a powerful milestone for her and for women of color behind the camera.

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What did it mean to you personally to be trusted with directing an episode of ‘Will Trent’, a show that has played such a formative role in your career?

To be trusted with this episode meant the world to me. I’ve been working toward directing an episode of network television for about six years now, and from the moment I told Liz and Dan, our showrunners, their support was unwavering. Their commitment to not only helping me make this a reality, but to making sure it was the best episode I possibly could direct, was undeniable. The faith and encouragement from the entire crew, producers, and cast throughout this process, especially as my first time directing, has been a genuine honor.

How did your experience as Faith Mitchell inform the way you approached the story and characters from the director’s chair?

My experience as Faith gave me invaluable time not only with her character, but with all of the characters. It allowed me to understand the rhythm of the show and the flow of the set in a deep way. So, when I stepped into the director’s chair, I was already intimately familiar with everyone’s goals, objectives, and storylines from the very beginning. That said, I still did my homework as though I were brand new. I was incredibly lucky to have not only Faith, but the entire world of ‘Will Trent’ in my back pocket.

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Was there a specific moment on set, as an actor, that first sparked your desire to direct?

Yes, when I was a series regular on ‘American Soul’ on BET. Our set was filled with dance and music since the show was based on the iconic Soul Train. As an actress and dancer, I loved being part of it, but I also began to see so many ways I could contribute to the storytelling beyond acting. That’s when I started shadowing directors on that show to explore whether directing was the storytelling route I was itching for, and it absolutely was.

How did you prepare for this transition, both creatively and technically, before stepping into production?

For this transition from actor to director, I was fortunate enough to have production and the writers reduce my acting schedule so I could properly prep the episode. That support was invaluable. Being able to fully immerse myself in preparation allowed me to be as present as possible while directing, and at times also acting, on set.

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What were the biggest creative challenges you encountered during production, and how did you push through them?

Creatively, one of my biggest challenges was figuring out how to make the massive ideas in my head fit into finite shooting days. Television gives you a limited amount of time to tell a big story within an hour-long episode. What’s beautiful about ‘Will Trent’ is how it vacillates between simplicity and action. Leaning into the simplicity of certain moments, something our showrunner encouraged, became a powerful way to execute my vision without sacrificing creativity.

Coming from a background in dance, how does physicality, movement, or rhythm influence your visual storytelling as a director?

As a dancer, I’m always listening for rhythm, both in tone and in pace, even when I’m not consciously thinking about it. Musicality comes second nature to me, and I believe using it always heightens a visual medium. Body language is also incredibly important to my visual language. How someone communicates with their body can say just as much as the words they speak.

As a woman of color directing episodic television, how do you see your presence behind the camera contributing to broader change in the industry?

As a woman of color directing an episode of network television, I see my presence as contributing to a broader shift in the industry by elevating and nuancing perspective. There are so many stories to be told, and network TV tells many of them. Broadening the scope of these stories so they hold greater truth, not just a single one, is what I hope to contribute. Ultimately, that helps us as viewers better understand people who are not like us. At the end of the day, we all want the same thing, to be seen and understood.

How does this experience reshape the way you’ll approach acting moving forward?

I had respect for actors before, but now I have the ultimate respect. I’ve said time and time again that one of my favorite parts of directing was watching my castmates work. They are immensely talented and bring a wealth of knowledge and creativity to the table. Moving forward as an actor, I will carry with me a deeper trust in directors, trusting that there is a larger vision at play that extends beyond any one performance. Collaboration has always been key for me, but even more so now.

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What themes or moments in the episode feel most reflective of your personal storytelling voice?

The theme of redemption feels most reflective of my storytelling voice. The moment Ormewood breaks at the end, after such a life-altering journey with this case, one that required him to put his ego aside and fully embrace his humanity, is exactly the kind of story I’m drawn to. Humans being human, and hopefully inspiring others to do the same with integrity.

Looking ahead, how do you hope audiences feel when they watch your work, especially knowing it marks your directorial debut?

I hope the audience feels like they’ve gone on a wild ride filled with play and fun. That they feel inspired by Ormewood’s courage to be a better human than his predecessors, and touched by the love that is always present, no matter the circumstances.

What keeps you grounded and creatively fulfilled?

What grounds me is my friends and family, knowing I am deeply supported no matter what I do. At the end of the day, they are what matter most. Creatively, I feel fulfilled by the hope that my work inspires people to be authentically and unapologetically themselves.

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shoes CLAUDIO MERAZZI

TEAM CREDITS:

talent IANTHA RICHARDSON
photography DYLAN PERLOT
creative direction and styling MICKEY FREEMAN at the Only Agency
makeup AUSTIN SATHER
hair ESKEE LEE
styling assistant KELSON SANDERS
production FREEMEN BY MICKEY
interview JANA LETONJA