Plot[ edit ] Richard Loving, a white construction worker in Caroline County, Virginia , falls in love with a local black woman and family friend, Mildred Jeter. Upon Mildred discovering that she is pregnant, they decide to marry, but knowing that interracial marriage violates Virginia's anti-miscegenation laws , they drive to Washington, D. Richard makes plans to build a house for Mildred less than a mile from her family home.
Soon afterward, sheriff's deputies raid Mildred's home and arrest the Lovings. When Richard points to the marriage license, Sheriff Brooks curtly tells him that it has no validity in Virginia and hauls them both to jail. They plead guilty to breaking the anti-miscegenation law and are sentenced to one year in prison.
However, the judge suspends the sentence, on condition that they not return to Virginia together for at least 25 years. The Lovings move to Washington to stay with a friend of Mildred's. They briefly return to Caroline County so their first child, Sidney, can be delivered by Richard's mother, a midwife.
Arrested again, they are cleared when their lawyer says he erroneously advised them they could return. Mildred and Richard have two other children together, Donald and Peggy. However, Mildred grows frustrated by being away from the country, and her frustration grows when she watches the March on Washington. She writes to Attorney General Robert F. Kennedy refers them to the American Civil Liberties Union.
Cohen takes the case and confers with constitutional law expert Phil Hirschkop. After a minor auto accident involving one of their children, the Lovings decide to slip back into Virginia, settling in a remote portion of King and Queen County while their case moves through the courts.
The state Supreme Court refuses to set aside the Lovings' conviction. Undeterred, Cohen and Hirschkop appeal to the federal Supreme Court. Before going to Washington, Cohen asks Richard if he has a message for the justices.
Richard replies, "Tell them that I love my wife. The film ends with the Lovings back in Caroline County, working on their dream house.
Richard dies in a car accident in , while Mildred continues to live in the house Richard built for her until her death in He'd laugh and quickly cover his lips over his [tobacco-stained] teeth. He's a bricklayer [ What I gave [Edgerton], in terms of coherent character on the page, he added specificity.
And conveying so much with so few words was one of the biggest challenges. When you don't have much to say, it's hard to latch onto that cadence.
A man who slumped because he spent his days hunched over a pile of bricks. One day on set she called me 'Daddy' and it was like the greatest blessing I've ever had. She held her mouth like Mildred [ I was looking for great actors.
It wasn't until after we were done and I started to speak with her that I realized she had an Irish accent [ When she left the room I turned to [Green] and [Maisler] and said, 'Well, do we really have to see anyone else? You know, the screenplay is so beautiful and I wanted very much to be part of that. Having become familiar with them, I think their story needs to be told and shared and honored and celebrated. She saw what maybe Richard didn't want to see, that they weren't going to get out of this by running away or putting their heads in the sand.
She was a very astute woman. After those five days in jail, she realized that the fairy tale was over. When I was playing her, I tried to imagine I couldn't go home again because of whom I married. It must have drained the lifeblood from her. Mildred was a bit more educated than he was, but I think everyone else underestimated their tenacity, their belief in themselves, their love for each other, and their respect for each other.
But what's important is that people are coming out of this movie genuinely moved because what they see is kindness. In many ways, [Mildred] would have been uncomfortable [by the attention] but their legacy is important [ Garnett Brooks, with Nichols himself not seeing Brooks as the bad guy of the story or even as a nemesis to the couple, noting that the lawman's beliefs about race and marriage were commonplace.
It's not something I'm proud of, but I understand how these attitudes are perpetuated, and that everyone sets, or has set, their own point of view.
It was important that Brooks not be played as the slack-jacked and mean Southern sheriff stereotype. He remembers, "Marton saw Sheriff Brooks as seeing himself as an adult dealing with wayward children. They were born and raised in a part of the South that didn't necessarily see the lines between color, and his stance was, God put those lines there.
The statements Sheriff Brooks makes are indicative of the status quo and what people believed. That was the law at the time.
So he was doing his job to the nth degree, which is important to quantify. And she made that stipulation. There's a real sense even among the locals to want to address that side of their history. Kroll went to Georgetown Law just like Bernie Cohen did. It just started to make sense. He came to Austin to see me and talk about the part. Honestly, I just thought it was an inspired choice. There are no cameras in the room, but he is putting on a performance to persuade them that he is the right lawyer for their case, even if he isn't entirely sure of that himself.
At the end of the scene, you see him sort of break character. Kennedy while he was in school: And I went to Georgetown. So I had a number of weird connections to the whole thing, including the fact that I've played a defense lawyer before, a very different kind of defense lawyer, in that Rodney Ruxin represented the worst people in the world.
They see the power of the individual and their ability to make change in the country outside of the system.
Nichols also mentioned that he didn't envision Shannon as portraying Richard Loving, to which he states,  "[ And as you'll see when you see the film, he's kind of gregarious. Like he becomes their friend, so that he can take these really delicate photos. It was also the hardest to shoot because it started to rain, and then we kept stopping and starting. Once we got to the dinner scene, that went fast.
We did the couch scene, and I was done. Nancy Buirski, who made the documentary The Loving Story [ And it didn't take long. Pretty much from the moment it ended I had my approach which was to concentrate on the day-to-day lives of the Lovings. I gave them a call and said "Look, this is my interpretation of it—this was kind of on the heels of The Help coming out back in , and it made a boatload of money—and I said, "I'm gonna make a really slow, really quiet film and I don't know if it's gonna be the feel-good experience of the year.
And there's potential for someone to make a film like that out of this story so if you guys really want that then I'm not the right guy for you. But if you're willing to go this other way then let's keep talking. He also stated, "So I shared the idea with my friend [Doherty], who comes from the music industry, and that's what started us off as producers. But he eventually agreed to write a script, which would be a strict blueprint for what he wanted to do, to which he later remarked: The letter of the law sometimes gets it right.
But it takes a long time for society to get it right, and that is what has always been surprising to me. We never got over that hurdle, and maybe we never will. That made me feel good that just by making this movie people are going to talk about inequality. Had I tried to make a movie that encompasses the civil rights movement, I would feel like a fraud. Usually, it's a subjective thing watching your own movies. But this was different. I was standing back, happy about the ultimate Supreme Court decision, but I did feel a very deep anger.
Today, it's about same-sex couples getting married. What business is it of anyone but the two people involved? Franklin Street, Richmond between the hours of 6 a. They are perfectly imperfect. They provide beautiful imagery without being overtly precise or clinical.
The best word to describe the lenses is 'soulful,' similar to an old Leica rangefinder or a really good wine. They are so awesome. We used some day-for-night driving shots at dusk, and could have benefited from an Alexa for POV 's. But shooting with the actors at night [in a process car] on film was so much fun. We only had one Bebee [light]. Of course the Vision stock is so well put together, you could shoot everything on T and it would still hold up great.
Fisher 10 dolly , a J. Fisher 23 jib arm , and a Mo-Sys Hot Head to put the film camera right over the actors as they moved about, in order to get closer to the actors.
We used a dolly with a boom and a hothead for more stability.