Filmmaker Mark Harris Bets Everything on His Latest Project, 'The Platform'

If you're not 'all in,' just go home

Mark is a writer, director and producer. He began in unscripted television. He co-created “Kicking & Screaming” for Fox, as well as Kevin Hart’s What the Fit for YouTube. His work in the nonfiction space earned him a Producers Guild Award nomination and a Realscreen Award.

In the narrative space, Mark’s scripted work explores identity, moral reckoning and the resilience of ordinary people facing extraordinary circumstances.

We spent two minutes with Mark to learn more about his background, his creative inspirations and recent work he’s admired. 

Mark, tell us …

Where you grew up, and where you live now.

I grew up between Hawaii and Los Angeles. I’m based in L.A. now.

How you first realized you were creative.

I just knew writing was the one thing I was better at than everything else—and the only thing I actually enjoyed.

A moment from high school or college that changed your life.

Getting into USC’s graduate film program. That was the first validation that I might actually have something worth pursuing.

Your most important creative inspirations, and some recent stuff you love.

I grew up on Steven Spielberg—the scale, the storytelling, the range. But I was also the kid watching Martin Scorsese films way too early—Taxi Driver, Raging Bull. More recently in TV, I’ve loved Fleabag, Hacks and Barry. The English and 1923 also blew me away. I was really impressed by the film The Substance. I admired the texture of Sinners, even if it didn’t fully land for me. 

One of your favorite creative projects you’ve ever worked on.

“The Platform.” It’s the most meaningful thing we’ve worked on—and the one we’re betting everything on. This journey began as a feature script. And the short is a step toward realizing that larger vision.

A recent project you’re proud of.

We just finished the script for “A Princess in Paris,” a biopic, and we’re starting to go out with it now. It’s an incredible story, and one we feel deeply connected to. More broadly, the industry is on the verge of a shift. We’re going to see more original, mid-budget films getting made again—it feels a lot like the early-2000s indie boom. That’s the space we want to live in, and projects like this are part of that wave.

Someone else’s work you admired lately.

At the Cleveland International Film Festival, we saw Mouse by Kenny Riches. It’s a low-budget film, but incredibly well written and executed—a really sharp, character-driven piece. It deserved the top feature award it won.

Your main strength as a creative person.

Film is a collaborative medium—without the right partner or partners, your ceiling is limited. My biggest strength is finding that partner—Monica Foley. Our collaboration has been transformative. She was instrumental in pulling me back into narrative storytelling, and she brings texture, dimension and a constant flow of ideas that expands what’s possible in every project. I focus on character and structure—finding the spine of the story—while she brings a richness and depth that makes it feel more alive. That partnership is the core of everything we do.

Your biggest weakness.

Once I’m in something, I’m all the way in—and it’s hard to step back. Everything in this business is harder than you think it’s going to be. So I probably hold on longer than I should.

A mentor who helped you navigate the industry.

I had supportive teachers. Jud Kinberg stands out. I didn’t actively seek out a mentor early on. That’s part of why mentoring others is important to me now.

What you’d be doing if you weren’t in film/TV.

Honestly, nothing. This is one of those paths where if you’re not all-in, you don’t last. I can’t picture doing anything else.