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<v Speaker 1>Folks, it's showtime. People say, good money to see this movie.

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<v Speaker 2>When they go out to a theater.

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<v Speaker 1>They want cold sodas, hot popcorn, and no monsters in

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<v Speaker 1>the protection booth. Everyone pretend podcasting isn't boring.

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<v Speaker 2>Don it off.

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<v Speaker 3>Coming to get you, Barbara.

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<v Speaker 2>Yeah, they're dead.

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<v Speaker 4>They're all messed up.

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<v Speaker 1>Georgia's films literally change the face of horror as we know.

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<v Speaker 3>It didn't hide the fact that the games were inspired

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<v Speaker 3>directly by George Romero's films. At that time, there was

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<v Speaker 3>nothing more I wanted than a live action Resident Evil.

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<v Speaker 3>Think George, make it Resident Evil. And then suddenly the plug.

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<v Speaker 1>Was pulled on this. Having him involved would have had

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<v Speaker 1>the potential for him to leave a blue print. How

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<v Speaker 1>did we not get this? And you can, Chelle you

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<v Speaker 1>the misgivings about every project someone else.

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<v Speaker 5>This film just feels so much more hor so much

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<v Speaker 5>more my life, and so much more name I.

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<v Speaker 4>Think George really took things to the next level on that.

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<v Speaker 1>This guy knew Resident Evil.

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<v Speaker 3>He would not sell his soul just to get a

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<v Speaker 3>film done.

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<v Speaker 6>I think that they're buying your.

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<v Speaker 1>The Resident Evil series exists because of him.

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<v Speaker 3>He'll never be for time Rememory Iron.

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<v Speaker 4>When there's no more mom in Hell, I'll see you

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<v Speaker 4>when Pittsburg.

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<v Speaker 6>George a Romero's Resident Evil.

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<v Speaker 1>Everyone's trying to die.

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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 Brandon Salisbury. He is the director and co writer

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<v Speaker 4>of the new documentary George A Romero's Resident Evil. It's

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<v Speaker 4>a little bit of a mouthful, but it's a pretty

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<v Speaker 4>fun documentary talking about the project that never became realized.

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<v Speaker 4>All about George A Romero's Resident Evil. All about George

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<v Speaker 4>A Romero's Resident Evil. It's right there in the title.

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<v Speaker 4>Thanks so much for listening, and I hope you enjoyed

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<v Speaker 4>this interview. Can you tell me a little bit of

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<v Speaker 4>your history as far as filmmaking and what got you

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<v Speaker 4>interested in horror overall?

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<v Speaker 1>I am a United States Marine veteran. I served in Iraq,

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<v Speaker 1>did twelve years total in the service, including the Army

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<v Speaker 1>National Guard. I got into horror when I was really young.

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<v Speaker 1>My mother loved horror films, so she had a stack

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<v Speaker 1>of VHS tapes. My father wasn't so much interested in horror.

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<v Speaker 1>He was a John Wayne Cleanness foot kind of got

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<v Speaker 1>so my mother and I really bonded over horror films.

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<v Speaker 1>I learned how to operate a VHS tape by myself,

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<v Speaker 1>but I popped in and ended up being Knight a

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<v Speaker 1>Living Dead and it scared a head at him. It

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<v Speaker 1>must have been five or six, and it scared me

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<v Speaker 1>off of other zombie films until I played the Resident

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<v Speaker 1>Evil games. When Resident Evil two came out in ninety eight,

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<v Speaker 1>and then when George was attached to direct, I went

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<v Speaker 1>back and was like, I had to watch more of

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<v Speaker 1>his films. And then it was around that time, just

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<v Speaker 1>getting in the early days of the Internet and reading

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<v Speaker 1>interviews with George Romiro, that I got into this fascination

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<v Speaker 1>with his career and his approach to filmmaking, and that

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<v Speaker 1>led me to wanting to get it pursue filmmaking because

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<v Speaker 1>of film and after my military career was done. You know,

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<v Speaker 1>it took a few years, but then I just decided,

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<v Speaker 1>you know, I need to go for this. It doesn't

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<v Speaker 1>matter how old I am. I'm just going to go

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<v Speaker 1>for it.

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<v Speaker 4>Tell me a little bit about those early days of

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<v Speaker 4>your filmmaking. What kind of stuff were you making?

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<v Speaker 1>This is the hysterical thing. The documentary is the only thing.

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<v Speaker 1>It's the first thing that I filmed. I didn't make

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<v Speaker 1>any home movies. I did not make any shorts. There

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<v Speaker 1>was nothing before this. So the first thing that I

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<v Speaker 1>did was something that I had a license for with Capcom,

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<v Speaker 1>to make this documentary about George Romero and Resident Evils.

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<v Speaker 4>That's amazing. So you just swung for the fences right

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<v Speaker 4>on out.

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<v Speaker 1>It wasn't meant to be this. I originally was looking

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<v Speaker 1>at it as something that would be like long term

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<v Speaker 1>and I would be making shorts. But it was something

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<v Speaker 1>that once we started working on it, it took off

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<v Speaker 1>beyond anything we could ever foresee. And next thing you know,

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<v Speaker 1>we were deep in production on this very big project.

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<v Speaker 4>Now he's saying, we I don't imagine that's the royal wee.

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<v Speaker 4>Can you tell me who else you worked with on us?

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<v Speaker 1>When I first decided that I wanted to make this

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<v Speaker 1>sense a documentary, I reached out to Robbie McGregor, who's

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<v Speaker 1>been connected to the Resident Evil community for decades. He

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<v Speaker 1>even operated a bunch of Resident Evil fan sites back

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<v Speaker 1>in the late nineties early two thousands, So he had

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<v Speaker 1>written a in depth article about twelve years ago that

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<v Speaker 1>was about the production of the first movie from its

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<v Speaker 1>conception back in ninety six when Constantine Film got the

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<v Speaker 1>rights all the way up to the release, and he

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<v Speaker 1>tried to cover each era of the production. And I

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<v Speaker 1>had even helped him uncover a few bits and peace

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<v Speaker 1>that I remembered and uncovered it and sent it to him,

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<v Speaker 1>so I'm actually credited in the article. So I immediately

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<v Speaker 1>reached out to him and said, listen, your article is

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<v Speaker 1>already a good baseline. Would you want to write this

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<v Speaker 1>with me and focus on George And he immediately was

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<v Speaker 1>like yes, So that's what we did, and then you know,

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<v Speaker 1>we eventually brought one other people to help us, including

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<v Speaker 1>Tom Robinault, who was the cinematographer and he was amazing.

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<v Speaker 1>So there's a lot of names attached to it, and

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<v Speaker 1>it's really kind of a who's who of the Resident

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<v Speaker 1>Evil fan community with some of the big platforms. We

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<v Speaker 1>have Andy Cox from Biohazard to Classified it was over

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<v Speaker 1>in the UK. We have JJ Truelock of Residents of

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<v Speaker 1>Evil and his team helped out. Some of them were

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<v Speaker 1>doing second unit for us, some of them were working

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<v Speaker 1>within trying to get us in connection with people. Joel Welsh,

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<v Speaker 1>who is a member of the community, did a lot

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<v Speaker 1>of additional research and he was I'm rarely responsible for

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<v Speaker 1>getting us in touch with Kenny Chee while the writer

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<v Speaker 1>of Resident Evil Won. So it was really neat to

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<v Speaker 1>work with all these people that I've seen their work before,

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<v Speaker 1>I've watched them on YouTube, and then now we were

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<v Speaker 1>all working together to try and bring this story to life.

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<v Speaker 4>It's fascinating because this documentary shows me a world I've

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<v Speaker 4>never seen before, you know, and I feel that all

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<v Speaker 4>good documentaries do that. No of the Resident Evil game

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<v Speaker 4>sounds like you are a huge fan and all these

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<v Speaker 4>people that you've talked to, big fans and creators and

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<v Speaker 4>played a part in it, I had no idea. So

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<v Speaker 4>to be able to pull back that curtain is really

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<v Speaker 4>commendable and to take me into that world and show

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<v Speaker 4>me why are so many people into this and how

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<v Speaker 4>has it affected them.

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<v Speaker 1>That was one of the goals, was to establish the

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<v Speaker 1>importance of not only who George Romiro is, but also

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<v Speaker 1>the video game and why the video game is so

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<v Speaker 1>important and how it was and then ultimately why the

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<v Speaker 1>movie would have been so important. With both of them

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<v Speaker 1>combined together, and then obviously the fallout and how it

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<v Speaker 1>slots into George's legacy. It's very much fifty fifty. It's

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<v Speaker 1>half about george legacy and half about Resident Evil, the games,

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<v Speaker 1>the commercial, the movie, so that it's a balancing act

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<v Speaker 1>to kind of give the best of both worlds and

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<v Speaker 1>also explain it in a way that if you don't

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<v Speaker 1>know anything about either or just one or the other,

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<v Speaker 1>that you can not get lost with the story that

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<v Speaker 1>we're telling.

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<v Speaker 4>Well, it sounds like so much of the making of

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<v Speaker 4>this was about connections and who can get you a

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<v Speaker 4>fu and just getting those little pieces and putting them

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<v Speaker 4>all together. I mean, did you make a master list

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<v Speaker 4>of here's all the people you want to talk to

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<v Speaker 4>at the beginning or did it just kind of grow

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<v Speaker 4>organically a little bit of both.

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<v Speaker 1>I think we ended up with something like fifty different

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<v Speaker 1>people that we wanted to interview, and unfortunately a majority

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<v Speaker 1>either didn't respond, they declined, or they were unavailable. And unfortunately,

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<v Speaker 1>once you start production on something like this and encur debt,

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<v Speaker 1>you are either going to just live with that debt

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<v Speaker 1>and not make it, or you're going to ultimately finish

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<v Speaker 1>something and deliver it, So we felt very proud of

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<v Speaker 1>what we were able to do, even lacking particular involvement

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<v Speaker 1>from certain people, and it was unfortunate, but it happens.

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<v Speaker 1>But we still feel that there's an amazing cast of

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<v Speaker 1>personalities that are able to tell their pieces and connect

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<v Speaker 1>the dots and fill in some blanks and finally show

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<v Speaker 1>this story and some of the revelations that come out

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<v Speaker 1>of it.

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<v Speaker 4>When did you start to really work on this? What

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<v Speaker 4>was the timeline for this?

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<v Speaker 1>Twenty nineteen is when I got the idea to do it,

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<v Speaker 1>and that's when I contacted Robbie McGregor, and it was

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<v Speaker 1>bybu worary of twenty twenty that we decided, like, yeah,

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<v Speaker 1>this it's going to be a bigger story than what

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<v Speaker 1>we thought. The pandemic hit, so we were trying to

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<v Speaker 1>get into the George A. Rameiro Archives in Pittsburgh to

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<v Speaker 1>actually read all the screenplays, and we didn't get to

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<v Speaker 1>do that for like eighteen months. So we spent eighteen

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<v Speaker 1>months just continually doing more research, finding old articles that

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<v Speaker 1>have kind of been lost or just not really heavily discussed.

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<v Speaker 1>And then the fall of twenty twenty is when I

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<v Speaker 1>connected with Sues Romero, George's widow, asked for blessings because

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<v Speaker 1>I didn't want to do this project without her understanding

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<v Speaker 1>my intent, the kind of story we want to tell,

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<v Speaker 1>to let her know that we are admirers of George

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<v Speaker 1>Ramiro's work, and then it just kind of progressed. There

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<v Speaker 1>was some false starts because it was rough trying to

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<v Speaker 1>get some financing, because documentaries can be hard to finance,

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<v Speaker 1>especially working on trying to acquire licenses. We got a

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<v Speaker 1>license in early twenty twenty two from Capcom, and then

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<v Speaker 1>again there was more just trying to find financing. We

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<v Speaker 1>did announce it near the end of summer twenty twenty two,

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<v Speaker 1>which actually allowed us. It finally brought a lot of

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<v Speaker 1>like traction to us, where finally we had a sales

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<v Speaker 1>agent who was linking us up with some people that

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<v Speaker 1>could get us money. And then by the beginning of

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<v Speaker 1>twenty twenty three we started filming. And then it took

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<v Speaker 1>about eight months to get everything filmed, because you know,

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<v Speaker 1>you might film a bunch of stuff and then had

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<v Speaker 1>to wait two months for an interview, and then you'd

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<v Speaker 1>film a bunch of stuff and go. We had everything

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<v Speaker 1>locked together. Then my daughter was born, and then the

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<v Speaker 1>cinematographer's son was born, so we had some downtime there,

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<v Speaker 1>and then we finally delivered the cut, the lawyers got involved,

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<v Speaker 1>we kind of had to go do some reshooting, and

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<v Speaker 1>then we finally got everything legally cleared in April of

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<v Speaker 1>last year, and then they started their process of working

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<v Speaker 1>on getting it ready for release, and it ended up

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<v Speaker 1>being this month few days ago that we finally released it.

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<v Speaker 1>There were many times where we thought it was never

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<v Speaker 1>going to get finished. It was very challenging, and you know,

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<v Speaker 1>it was very demanding, very much a struggle. So the

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<v Speaker 1>fact that we were able to complete it, put it

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<v Speaker 1>together and actually enticed someone to buy it and get

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<v Speaker 1>it out there for everyone, it was like, Wow, we

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<v Speaker 1>are very proud of ourselves for what we managed to accomplish.

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<v Speaker 1>Because doing something of this scale, trying to deal with

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<v Speaker 1>the complexities of George Ramiro's legacy and dealing with a

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<v Speaker 1>six billion dollar corporation in Japan who owns the rights

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<v Speaker 1>to the video games, plus we're dealing with different people's

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<v Speaker 1>ips to try and tell Georgie's story. It was very challenging.

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<v Speaker 1>So a lot of people have actually said that they're

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<v Speaker 1>really amazed at how much the documentary talks about, because

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<v Speaker 1>it's a much bigger story than just George wrote a

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<v Speaker 1>script and then he didn't make the movie.

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<v Speaker 4>How many folks did you end up talking to for this?

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<v Speaker 4>There are fourteen in the documentary.

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<v Speaker 1>And we filmed twenty two. So there's some stuff that's

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<v Speaker 1>on the cutting room floor. So after we put everything

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<v Speaker 1>together and then we had to cut it within a

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<v Speaker 1>certain timeslot, we had to keep it under a certain

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<v Speaker 1>run time, certain things were left on the cutting room

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<v Speaker 1>floor to try and focus it a little bit more.

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<v Speaker 4>And I know you talked about just how you have

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<v Speaker 4>been involved in this world of both Romeiro and Resident

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<v Speaker 4>Evil for so long, But were there any things that

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<v Speaker 4>surprised you while you're going through this and learning more

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<v Speaker 4>about the project.

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<v Speaker 1>I think one of the biggest surprises was just being

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<v Speaker 1>able to read through Georgia's scripts and seeing the small

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<v Speaker 1>little things that have changed, and then finding out that

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<v Speaker 1>there was concept art done, and getting to see the

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<v Speaker 1>concept art, and then finally getting to read the Alan

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<v Speaker 1>McElroy drafts, which was one of those mythical things that

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<v Speaker 1>not too many people knew about or even knew the

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<v Speaker 1>contents of McRoy was the writer before George Romero, so

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<v Speaker 1>being able to kind of start connecting the dots and

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<v Speaker 1>how everything was sort of put together, that was the

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<v Speaker 1>biggest surprises.

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<v Speaker 6>Now.

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<v Speaker 4>I know obviously with documentaries the editing is so crucial

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<v Speaker 4>to bring this all together to really craft the story.

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<v Speaker 4>Can you tell me a little bit about the editing process,

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<v Speaker 4>and also did you run it past like friends or

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<v Speaker 4>did you have like a test audience that you would

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<v Speaker 4>send different cuts to.

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<v Speaker 1>We ran a lot of it through the producers, and

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<v Speaker 1>all the editing was done by Tom Robineal and then

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<v Speaker 1>I kind of supervised it to make sure like my

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<v Speaker 1>vision was there, but we would sit there for hours

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<v Speaker 1>getting everything cut together. We did show it to a

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<v Speaker 1>few friends, and then we did have a private test

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<v Speaker 1>audience that sort of went through when we see people's

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<v Speaker 1>reactions and then some people crying at the end of it,

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<v Speaker 1>that it was like, Okay, I think we're onto something here.

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<v Speaker 1>But a few of George's friends actually got to see

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<v Speaker 1>it as it was being put together, and they were

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<v Speaker 1>complimenting the visions, saying like, we understand what you're trying

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<v Speaker 1>to do.

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<v Speaker 4>What's in store for the documentary? Now are you going

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<v Speaker 4>to take to conventions because I imagine that that's where

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<v Speaker 4>George's people are. That's something that the distributor will have

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<v Speaker 4>to decide on. The next step is trying to get

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<v Speaker 4>all the special features done up or the.

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<v Speaker 1>Physical release later this year, and then we'll see where

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<v Speaker 1>the future holds for it.

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<v Speaker 4>So are you going to then move on to George

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<v Speaker 4>Romero's the stand?

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<v Speaker 1>I don't necessarily have any plans to do more Lost

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<v Speaker 1>Media projects. I'm actually currently attached to do the adaptation

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<v Speaker 1>of Fate the Unholy Trinity, which is a horror video game,

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<v Speaker 1>and I have another documentary in the work that is

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<v Speaker 1>an announced yet and we're kind of keeping it under wraps,

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<v Speaker 1>so that one we're hoping to actually film later in

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<v Speaker 1>the year.

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<v Speaker 4>Well it's great, So first movie, and you actually still

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<v Speaker 4>want to do a second movie?

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<v Speaker 1>Yes, I am committed. They do say that filmmakers are

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<v Speaker 1>not right in the head because it is a torturous process,

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<v Speaker 1>but then at the you're done, you want to do another.

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<v Speaker 1>So how about you?

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<v Speaker 4>Where can people keep up with you and your work online?

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<v Speaker 1>I am on Facebook, Easy to find me, It's my

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<v Speaker 1>real name, Brandon Salisbury, and I'm also on Twitter. It's

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<v Speaker 1>at mister midnight al m R M I D and

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<v Speaker 1>I T E and then O W L so mister midnight.

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<v Speaker 4>L Brandon, thank you so much for your time. This

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<v Speaker 4>is great talking with you today. It was great talking

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<v Speaker 4>to you too.

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<v Speaker 2>Your son off.

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<v Speaker 5>Half the name other Game, half the name Mother Game.

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<v Speaker 5>Half the name other Game, half the name of the game.

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<v Speaker 6>Yump top of the crowd, raised the queen, the fred

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<v Speaker 6>of mistake in your cradle. Can't shake the dree while

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<v Speaker 6>you're residing to front the grabb battle with gas and

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<v Speaker 6>give you room to freeze the pumatic with math. Everybody

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<v Speaker 6>get front, you pumping your friends till you pump in

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<v Speaker 6>the back. But would you back up with this?

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<v Speaker 2>Come up?

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<v Speaker 6>You're keeping your speaking knocking you jumping in your tan and.

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<v Speaker 2>Your pumping place in the hot colling off freaks of

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<v Speaker 2>calling off freak masther m John John O the gay

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<v Speaker 2>May You're a game, the gay the game back.

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<v Speaker 6>Get him up in the back, say get him up

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<v Speaker 6>in the back.

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<v Speaker 2>Up the name coverin the name can come call it

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<v Speaker 2>God preser