WEBVTT

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<v Speaker 1>Oh, it's show tied. People say, good money to see

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<v Speaker 1>this movie.

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<v Speaker 2>When they go out to a theater, they want cold sodas,

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<v Speaker 2>hot popcorn, and no monsters.

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<v Speaker 1>In the Protection Booth, everyone pretend podcasting isn't boring, don

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<v Speaker 1>it off?

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<v Speaker 3>So in what ways do you feel like your life

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<v Speaker 3>has changed since learning of this new part.

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<v Speaker 1>Of your past?

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<v Speaker 3>I have a whole lot of questions. I love this

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<v Speaker 3>and it makes sense to me. I'm gonna be visiting

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<v Speaker 3>the library that you you stay away.

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<v Speaker 1>From all that nonsense.

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<v Speaker 4>Your grandmother was sick?

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<v Speaker 3>Was she was nothing more stressful going on in her

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<v Speaker 3>life that would make her lose it. She wasn't looney,

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<v Speaker 3>and my grandma wasn't a witch.

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<v Speaker 4>Well, what'd you think that was scary?

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<v Speaker 2>I think you're scared me.

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<v Speaker 3>Great names.

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<v Speaker 4>Hey folks, Welcome to a special episode of The Projection Booth.

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<v Speaker 4>I'm your host, Mike White. On this episode, I'm talking

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<v Speaker 4>with Danny Villanueyo, a junior, all about what happened to

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<v Speaker 4>Dorothy Bell. It is the new film that he wrote

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<v Speaker 4>and directed. It is making the rounds at festivals right now,

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<v Speaker 4>including the Fantastic Fest. If you are a fan of

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<v Speaker 4>horror movies, I would definitely keep an eye out for it.

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<v Speaker 4>It is a found footage horror film that I actually

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<v Speaker 4>really was very effective, kind of scared the but Jesus

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<v Speaker 4>side of me a few times. Thanks so much for listening,

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<v Speaker 4>and I hope you enjoyed the interview. I want to

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<v Speaker 4>know a little bit more about you. How did you

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<v Speaker 4>even get interested in filmmaking.

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<v Speaker 1>It started when I would make skateboarding videos with my brother.

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<v Speaker 1>Those turned into these like short spoof skits with friends

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<v Speaker 1>and family, and as I got older, I started to

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<v Speaker 1>learn what goes on behind the scenes and I was

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<v Speaker 1>just fascinated and started to take it more serious and

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<v Speaker 1>have been making films since then.

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<v Speaker 4>Did you ever go to school for it or are

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<v Speaker 4>you just all self taught?

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<v Speaker 1>Yeah? I did go to the Art Institute of Wisconsin

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<v Speaker 1>for a short period of time. Most of my education

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<v Speaker 1>was self taught on YouTube and online courses and stuff

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<v Speaker 1>and just practicing.

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<v Speaker 4>Tell me about some of the shorts that you've done

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<v Speaker 4>in the past. I'm so curious about them.

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<v Speaker 5>Yes.

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<v Speaker 1>So one of them is called Don't Cry Papa. It

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<v Speaker 1>was me and my good friend j Anthony Ramos, we

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<v Speaker 1>went out to the woods. It originally started as just

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<v Speaker 1>a camera test. I got a black magic Ersamini, and

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<v Speaker 1>I just wrote this little monologue for him to recite,

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<v Speaker 1>and then we just decided, let's turn this into a short.

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<v Speaker 1>So like I had it a little bit and it

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<v Speaker 1>was literally like me and him out there alone and

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<v Speaker 1>I'm getting like this intimate performance. I was about a

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<v Speaker 1>father who is basically interrogating the killer of his daughter,

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<v Speaker 1>and we're in point of view of the killer, so

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<v Speaker 1>he's speaking directly towards us. And then there's a really

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<v Speaker 1>fun twist that happened. So it's out there on YouTube.

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<v Speaker 1>Don't Cry, Papa, Tell me about your last film. I

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<v Speaker 1>dreamt up a Psychopompa. That was an anthology that I

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<v Speaker 1>shot over the course of three years. There's four segments.

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<v Speaker 1>One of them's a wrap around, but it's about psycho pumps,

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<v Speaker 1>which are soul guides. They help transition spirits stuck on

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<v Speaker 1>Earth into the afterlife, and so we see different kinds

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<v Speaker 1>of them throughout. There's a psychic medium. There's a man

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<v Speaker 1>who's experienced grief from losing his wife and he's starting

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<v Speaker 1>to see visions of her, and we even have a

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<v Speaker 1>vampire story in there. But yeah, that was another really

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<v Speaker 1>fun project, and it was my first feature, Like I

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<v Speaker 1>set out to create it as one piece rather than

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<v Speaker 1>short films and then deciding later to make a collection.

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<v Speaker 4>Tell me about what happened to Dorothy Bell? How was

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<v Speaker 4>it to move from shorter form into this longer form medium.

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<v Speaker 1>I wanted to challenge myself in see can I do

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<v Speaker 1>a film in such a short period of time? And

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<v Speaker 1>I set a bit of a buying and yeah, it

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<v Speaker 1>was I much more prefer this method. There was benefits

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<v Speaker 1>to shooting different shorts over the course of a few

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<v Speaker 1>years in terms of like budget. Obviously it's easier to

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<v Speaker 1>take the time in between to try to raise more

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<v Speaker 1>funds and then editing along the way, I'm able to

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<v Speaker 1>take more time to figure out what is this film

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<v Speaker 1>that I'm trying to tell, what kind of what is

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<v Speaker 1>the style I want to convey, and things like that.

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<v Speaker 1>But Dorothy Bell was just entirely different beasts. We shot

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<v Speaker 1>it for twenty six k and nine days and it

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<v Speaker 1>was Yeah, it was pretty intense and I loved every

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<v Speaker 1>minute of the process.

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<v Speaker 4>How did the idea come to you? So shooting a micro.

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<v Speaker 1>Budget, you try to find what resources you have available,

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<v Speaker 1>and there was this library in Kenoshoa, Skotton called the

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<v Speaker 1>Gilbert Simmons Library, this beautiful old historic building, and they

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<v Speaker 1>had ghost tours. They have ghost stories of their own

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<v Speaker 1>and I took a tour and I just fell in

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<v Speaker 1>love with it, and the staff was so welcoming, And

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<v Speaker 1>it was then that I wrote a treatment before I

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<v Speaker 1>approached them to ask about filming. I've always had a

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<v Speaker 1>love or an association with libraries and ghost stories because

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<v Speaker 1>anytime I would go to the library, I'd head right

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<v Speaker 1>to that paranormal section. I would look at all the

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<v Speaker 1>urban legends, the hauntings in my town. It was the

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<v Speaker 1>easy thing to decide on it. Yeah, they were welcoming.

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<v Speaker 1>We shot overnights, they were open during the days, and yeah,

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<v Speaker 1>it was great experience.

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<v Speaker 4>And tell me about your cast You've got some really

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<v Speaker 4>strong performances in here.

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<v Speaker 1>The most familiar people on our caste is Lisa Wilcox,

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<v Speaker 1>who was the lead of a Nightmare and Olmstreet four

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<v Speaker 1>and five. She played Alice Johnson. She plays Ozzie's therapist.

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<v Speaker 1>Ozzie's the lead character of our film, played by Age

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<v Speaker 1>of Meadows, wonderful Chicago actor. I'm in that area, so

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<v Speaker 1>it was great to have somewhere local.

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<v Speaker 4>I believe this is.

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<v Speaker 1>Their first feature film. Super excited about having them, grateful.

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<v Speaker 1>And then we have Michael Hargrove, who had recently played

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<v Speaker 1>Sherman Fields a New candy Man in the Niada Costa

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<v Speaker 1>and directed Candyman sequel. Yeah, and then a bunch of

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<v Speaker 1>other local talent that was just so great to have.

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<v Speaker 1>I'm so proud of everyone's work in the film.

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<v Speaker 4>Yeah, everybody is just terrific. And I love that main performance.

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<v Speaker 4>I think that actor is just phenomenal. And you must

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<v Speaker 4>have had a real good working relationship because they're in

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<v Speaker 4>almost every single shot of the Yeah.

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<v Speaker 1>I knew going in that I needed to find someone

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<v Speaker 1>I can trust to really carry the film and someone

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<v Speaker 1>that fits the character to a t. And Asia brought

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<v Speaker 1>this vulnerability but also incredible strength and just felt so

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<v Speaker 1>human and that's what the role required. And I feel

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<v Speaker 1>they nail every aspect and just yeah, really lucky to

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<v Speaker 1>have found them.

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<v Speaker 4>So much of a horror film for me, anyway, is

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<v Speaker 4>the suspense, and you've got that going on so much

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<v Speaker 4>in What Happened to Dorothy Bell. Tell me about the

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<v Speaker 4>editing process and how you came up with when those

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<v Speaker 4>beats would come in.

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<v Speaker 1>My favorite kind of horror films are the ones that

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<v Speaker 1>really hold back on the scares. You know, they just

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<v Speaker 1>build and build until it's just that you pop with

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<v Speaker 1>that's scarer, just find some kind of release. And I

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<v Speaker 1>know that Found footage, especially those kind of films were

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<v Speaker 1>the best for me. Or like I first found footage

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<v Speaker 1>film experience was the Player which projects in the cinema

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<v Speaker 1>when I was ten years old. I believed it was real,

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<v Speaker 1>and looking back revisiting it, I'm just like paying attention

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<v Speaker 1>to why it was scary, and it was like what

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<v Speaker 1>you didn't see, and so much of it was like

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<v Speaker 1>these restraint techniques that happened. So I really wanted to

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<v Speaker 1>rely on that and just pull back as much as

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<v Speaker 1>I can until I couldn't be longer.

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<v Speaker 4>And then the other part of it, too is the

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<v Speaker 4>sound design. Can you tell me a little bit about

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<v Speaker 4>working with your sound producer.

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<v Speaker 1>Because we're so restraint on the visuals and the story.

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<v Speaker 1>Sound was incredibly important, and I worked with the same

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<v Speaker 1>sound team as I did on Psycho Pump, so we

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<v Speaker 1>had this great relationship that we established and we met

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<v Speaker 1>before we started filming, so they weren't brought on after,

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<v Speaker 1>and so there was tons of conversations about how can

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<v Speaker 1>we create this atmosphere when we don't have score to

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<v Speaker 1>rely on. So sound was even that more important, and

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<v Speaker 1>so little things like the room tone, the ambiance of

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<v Speaker 1>the room were able to create different feelings and personalities

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<v Speaker 1>in the air, the things as subtle as that. Yeah,

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<v Speaker 1>just finding how to tell the story in the sound

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<v Speaker 1>is best as can be with the sound off. I

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<v Speaker 1>don't know how well the film works, even though so

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<v Speaker 1>much of it is the silence, but the silence is

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<v Speaker 1>sound for this film. Yeah, it was a great experience,

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<v Speaker 1>and I learned a lot during this process that I'll

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<v Speaker 1>probably carry on to my traditional films, not my non

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<v Speaker 1>funne footage films, in the future.

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<v Speaker 4>During the editing process, did you show this to other

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<v Speaker 4>people or was this pretty closed door for you? I

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<v Speaker 4>usually close the door.

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<v Speaker 1>I'm the kind of person who if I'm in a

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<v Speaker 1>coffee shop, I sit with my back against the wall

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<v Speaker 1>like I'm just very you know, I don't know what

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<v Speaker 1>it is. I just don't want people to see the

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<v Speaker 1>unfinished and miss out on the surprises and experience of

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<v Speaker 1>watching the film in its entirety. So it wasn't until

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<v Speaker 1>I had a full cut that I started showing it

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<v Speaker 1>to close close crew members. Yeah, it was That's how

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<v Speaker 1>I like to work.

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<v Speaker 4>Yeah, have you seen this with an audience yet?

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<v Speaker 1>No. I had a screening room of four people, but

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<v Speaker 1>they all worked on it. It's not I don't know

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<v Speaker 1>how other people see it. And I'm so close to it.

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<v Speaker 1>I've been so close to the script the editing that

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<v Speaker 1>I don't know what it is. It's hard even for

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<v Speaker 1>me to talk about it at this point, like I

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<v Speaker 1>need a little bit of space of time to figure

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<v Speaker 1>out what it was some distance, and I'm hoping that

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<v Speaker 1>I haven't watched the film a couple months now, so

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<v Speaker 1>I'm hoping that this Fantastic Fest screening opens my eyes

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<v Speaker 1>a little bit. I could hopefully view it as an

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<v Speaker 1>audience member in a way and then start to hear

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<v Speaker 1>how others are interpreting it and responding to it.

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<v Speaker 4>Are you going to Fantastic Fest to see it with

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<v Speaker 4>the audience?

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<v Speaker 1>Absolutely, I'll be there with a lot of our crew,

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<v Speaker 1>Our main cast will be there to do It's all

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<v Speaker 1>of our first time being there, so we're all super excited.

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<v Speaker 4>I will tell you flat out, Danny, I am not

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<v Speaker 4>a big horror guy, but I was on the edge

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<v Speaker 4>of my seat the entire way through your film. It

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<v Speaker 4>just got me so well, and I think you're right

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<v Speaker 4>with those silences that just kept me on my edge.

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<v Speaker 4>I love that it's good news. What were some of

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<v Speaker 4>your biggest challenges making this.

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<v Speaker 1>I think it had to be the fact that I

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<v Speaker 1>self produced it, so line producer roles. Everything on the

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<v Speaker 1>business side I did along with the creative, the writing,

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<v Speaker 1>the directing. I took out a lot and I didn't

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<v Speaker 1>want to sit around and wait for more morning to

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<v Speaker 1>come in to hire those positions. I was ready to

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<v Speaker 1>make it. And yeah, although it was a challenge, I

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<v Speaker 1>was up for it. And so much of just the

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<v Speaker 1>joy of filmmaking just overpowers any of that kind of

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<v Speaker 1>stress that happens. And also I think like I had

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<v Speaker 1>a lot that I learned along the way that I

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<v Speaker 1>can carry on to future projects. Just communicating with producers

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<v Speaker 1>and the other positions that I took on myself, I

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<v Speaker 1>should have an easier turn with.

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<v Speaker 4>The elber of the performances too. I'd say that you

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<v Speaker 4>have a real knack for working with actors. I have

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<v Speaker 4>no background in acting. I wasn't like a theater kid.

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<v Speaker 4>But I just really enjoy that relationship with them and

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<v Speaker 4>somewhat set so they kind of like understand what the

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<v Speaker 4>film is. And also casting there's I could find a

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<v Speaker 4>wonderful actor, but you know, if they don't understand like

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<v Speaker 4>the tone of the performances, it's going to be hard,

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<v Speaker 4>you know. So I'm making sure that I'm casting in

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<v Speaker 4>line with what the film needs to be and then

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<v Speaker 4>having a lot of conversations beforehand so we're when we're

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<v Speaker 4>on set, it's much easier. You know, they can be

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<v Speaker 4>free and just stay within those boundaries and just play

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<v Speaker 4>in the middle of it. Do you always direct what

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<v Speaker 4>you write or have you ever directed other people's work?

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<v Speaker 1>So I've wrote everything or have been a co writer

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<v Speaker 1>on other projects, but yeah, I've never had an experience

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<v Speaker 1>of directing someone else's work. I'm interested in that to

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<v Speaker 1>see what I can bring to someone else's story and

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<v Speaker 1>step outside of what I know, So it could be interesting.

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<v Speaker 4>Do you tend to work on one project at a

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<v Speaker 4>time or do you have multiple things that you're working on.

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<v Speaker 1>In terms of writing, I'm always writing. I have a

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<v Speaker 1>couple of projects that I kind of loop around with,

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<v Speaker 1>but with the actual pre production production, like to keep

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<v Speaker 1>my focus on one thing at a time.

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<v Speaker 4>I don't want to be overwhelmed.

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<v Speaker 1>But I do have other creative outlets like between the films,

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<v Speaker 1>like painting and things like that to just keep me

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<v Speaker 1>busy in the downtimes.

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<v Speaker 4>When did you actually shoot Dorothy Bell?

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<v Speaker 1>So we shot it in twenty twenty two, in May of.

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<v Speaker 4>Twenty twenty two. Was that pretty close to what we're

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<v Speaker 4>seeing now? Did you do have to do any reshoots

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<v Speaker 4>or anything? No, we couldn't afford it.

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<v Speaker 1>We had to get everything and there's nothing cut like

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<v Speaker 1>whatever we shot it had to be in there like

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<v Speaker 1>it's it was interesting. So yeah, it was like just

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<v Speaker 1>making sure double checking the monitor that shots nots off

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<v Speaker 1>or there's nothing wrong about it that we would have

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<v Speaker 1>to return for. But we did add a day, like

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<v Speaker 1>the library was welcoming to have us return. But it's

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<v Speaker 1>not something that months later I discovered in the that

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<v Speaker 1>that we need to go back is it'd be impossible,

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<v Speaker 1>like with the budget we had.

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<v Speaker 4>I'm excited to see whatever you work on next. Do

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<v Speaker 4>you already have something in mind?

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<v Speaker 1>I do have two screenplays that feel most complete. I

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<v Speaker 1>have a more full vision and then I have a

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<v Speaker 1>couple of other projects that I'm writing book. Yeah, I'm

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<v Speaker 1>gonna start to move forward on them and try and

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<v Speaker 1>find funding and hopefully get the producer on board to

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<v Speaker 1>make it happen.

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<v Speaker 4>Mister Villa Nueva, I had a great time talking with you,

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<v Speaker 4>and I really appreciate whatever happened to Dorothy Bell.

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<v Speaker 1>You too, is a pleasure, and thank you for those words.

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<v Speaker 4>Yeah, you have a great time at Fantastic Fest and

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<v Speaker 4>I'm so excited for you to see this with an audience.

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<v Speaker 1>Well do looking forward to it all. Thanks so much.

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<v Speaker 5>I talked to myself, I found outward.

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<v Speaker 2>I'm miss stalking my god, I'm not tuma say so

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<v Speaker 2>matherous Jesus out you have this talking in the dog

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<v Speaker 2>and the bucking and the fighting.

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<v Speaker 5>Is talk like a little love talk like me love it.

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<v Speaker 5>You're talking talking to some myself sound et.

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<v Speaker 1>I bothering yourself, able.

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<v Speaker 5>To hit myself.

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<v Speaker 2>But it's so chancey and the passy. It was cat

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<v Speaker 2>fancy meals talking you the doll houd com Me Cities

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<v Speaker 2>gathers some big gas. We ask you, I'm miss stargeting

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<v Speaker 2>the dobbry out you. I'm mis spoggler the dobbery out you.

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<v Speaker 2>I am miss Spoggler, the dog out you. I am

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<v Speaker 2>miss Stocking adoppy about you. I'm miss spogging