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Can control forward to Hey, folks, welcome to a special episode of The Projection Booth. I'm your host Mike White. On this episode, I'm talking with screenwriter Barry Keating. He is the force behind Invoking Yell, the new film by Patricio Velederis. It is a Chilean horror film set back in the nineteen nineties, kind of a throwback to the Blair Witch Project, where it is three women who will go out into the woods to shoot their demo tape
for their black metal band. Thank you so much for listening, and I hope you enjoyed the interview. How did you get involved in screenwriting?
I started as a journalist writing for a local newspaper here in my own ten and then I went to university to study screenwriting. While I was there, I was working at the video store and this guy came in and we were just chatting about like movies and games and stuff, and he was like, Hey, I'm an editor a video game. Mike's a PlayStation He said, you want a job. So I sacked off university and I took a job as a journalist at this PlayStation two magazine.
From there, I hopped to DVD Review to do news editing, feature, I started writing film, did a bit of freelance for Empire. Then I moved to online and I segued into game development there. But all the way in the background was always running my own stuff, talking to people, and I got this opportunity to a bunch of comics based on IPS.
One was for Day, The Dead Battle Royale was another one, and then the Demons, and there were little sort of mini comics that would sit inside special released some arrow video back when they wanted to do these little still little inlace and Big got not nominated for award that went up in Italy. Talking to a bunch of Serbian guys who just made an R movie called Zone the Dead, and they were like, hey, we want to do a
sequel called Wrath of the Dead. And I was like, yes, I'm over here, give me the job, and we started talking and I ended up working with those guys and Ken read on that script. It never happened, And there were many other stories of different projects that worked. One. At one point I was working with Brian Josna on adapting Reanimator into a comic series. I know what they've been done in the past. We're going to try and redo the movies and then fill in the gaps in between.
And that didn't happen. And then I stayed focused on writing game stories because that's pretty much what I do for my day job, which is game narrative. And yeah, and then the serving guys called me up and I just was one of the kind of cusp of moving to Madrine for a job. And they said, hey, look look at this film. We're shooting it. The script needs a bit of work, We've got a few months, or do you want to do it now?
Yeah?
Of course, And so I took it on and I looked on the script and then I didn't really think to be perfect, be honest with education. There was so many false starts. I'm not sure what's happened about like seven months later, I was going for work and there was an email with a trailer for the movie, which turned out to be Killing Mare Made, which was the first thing i'd written the cup produced, and I just remember living in the three year class going, Wow, this
is an actual movie. It's a real Really, I didn't realize this was going to happen. And that where I went over to Belgrade and when I was there so I know another movie, and I I came back and I had a friend who was a producing partner up to Servey Guys. He had put me in touch with Patricia the Patricio and I worked on a street plight for sort of home invasion called Breath. We couldn't get that off the ground, and then we kept talking and that ultimately led to the sort of creation of Downhill.
And once we broke Downhill together and shot that, that was the beginning of our sort of working relationship. When we've just done so much stuff in me like Knight goes to Guarrap and Embryo and this, it's it's been a bit of a brend about journey to get its almost what I wanted to do when it just took a little longer than I planned.
What was it like the first time you heard somebody say you're a dialogue? Oh?
I died. I was mortified, to be honest. I remember. The first time was it was at the premiere of Killing Mermaid and it was in this big, massive place called the Sava Center in Belgrade. But you're talking like a couple of thousand people, and I just I just remembered sinking into the seat just because I don't know, it was so crazy to hear it, but I was just like, oh my god, I wish I had to change that, and I don't like the way that sounds, and oh no, and why did I like that? I
was sitting just having their panic, see. But eventually got over that. But yeah, now it's cool to see what people do with the dialogue and what they do with the script and what they take from that, what's on the page, and how they turned that into a performance. So that's pretty cool. But yeah, the very first time, I think I was like, oh man, maybe I chose the all care.
You talked a little bit about working with Patrizia, but what's that working relationship? Like, how do you guys go back and forth? As far as the ideas the shaping of everything.
We've been working together I think speaking a decade. We constantly communicate on Facebook and on What'sapp, just sending stuff back and forth, messages and this, but basically how we've always communicated. He might have an idea, we'll start kicking it around back or create a document, bencing back and forth, and then well flectu at the treatment and whatnot together and then once we have that script and I'll send it to him, they'll give me his notes. So it's
really is a back and forth. But the funny thing is I don't speak Spanish and protruce you understand it's great, but we don't put the drop on cause but we get able to write it really well. So do we communicate via text, which I'm sure people thinks of an odd relationship, but I always sit to my wife. I really must learn Spanish because I've been working together issue some lock. But it is very much a pink obsession
where we pushed stuff back and forth. I do remember the day hell we hadn't finished Breath and showing it around and seeing what was happening, and then we were talking about it would be cool to do something in the world of extreme sports, and we got talking about different types of Dan Hill Mountain. Mike, You're write in the forest and generally the forest is worset, creepy, mad shit happens, so maybe let's just go with that. And that's how we started working on that one's ideas back
and forth. And then I remember with Embryo, which was a mad one where we had the idea for us start working on a script and then it's basically like COVID Hit, you don't even manage to shoot. I think it was twenty five minutes of actual film footage, and then we were like, why are we going to be able to do this? So I started looking at the script and we started rewiring it essentially, and then he was a shoot loads of stuff in his home with just himself and his daughter and his wife, and it
was Comata with Frankenstein this thing together. But we did and they played at fried Fest hilariously. It played at fried Fest and it was an online version and the subtitles that we had in it didn't trigger, so I think it was what happened was it was like these old generated subtitles started just following this cleeding, like what was being said would made no sense whatsoever. I was
just like, is all we can do about it? Just go with it and anybody everybody could laugh at it, like, yeah, it was some fun experience.
You talked about how when you wrote Killer Mermaid or rewrote that one just went into the void. You didn't even know what was happening until you know it came back to you. When it comes to these films that you're making with Patricio, are you going to the set or are you just handing them over and saying, okay, good luck, have fun and children.
For whatever reason, it's just so it's hard to make that show. One day I'm going to we'll get the opportunity to to fly over and do a shoot whatever or something like that.
We work it up.
But yeah, it's a great working relationship and and it's worked really so far. But yeah, there are some things about it that I wish that we could change, which is like getting on set and hanging out and going shoot. I would have loved to have been there for invoking three days shooting this thing in the woods, and Dan Hill looked great, as well. But I get to live vicariously through all the pictures and the messages that they sent me. And you're like, oh, I don't ca like,
I'm okay with that. I know I was gonna say, but there's another guy that which is you had worked with Pastor Andrea and he's an Italian writer. He was posting a message on basebook like I've written whatever fourteen movies and I've never once been on the center. I've never once met the actors that have been in the movie. So I was like, hey, fake going that one.
So where did the idea for invoking Yell come from?
I think it's a bit of a shame of trivia here, But basically, he had been making a bunch of movies and then he had made one movie and he had a conversation about see was in a bit of a ways we didn't have to do creative creatively, and so we got to joking best stuff back and forthy and he was saying, like the idea of this love letter to the Blair witch to sort of nineties and he's a huge black metal man, and it came from that whole conversation about what if this happened but we see
three girls going out to the words to record the psychophony, and we just ran with it from there, and I knew the you know, this was a zero buch and it was just like flying by the seat of your pets, and we were just come up with it. We knew the limitations of what we had, which was like very little, tried to write to very little, and that was it. And I think, really what, honestly what carries the film
through from start to finish are the performances. And I think the relationship that you see on screen Towe three girls is just they really elevate. They're just so good and you believe them, and you do feel like you're just watching these kind of nineties teenagers want to be black metal legends doing something awfully stupid that leads to something horrible. So yeah, but they sold it.
So so when did you finish the screenplay and when did they shoot?
Well, I can't remember the timeline, but basically how this one worked in particular was truciha idea and then we buy the storage structure back and forth, and then because he was going to shoot it in Spanish over there, we go through the screen talk through and then I would suggest to fix this, change this, move this here, things like that. So that's how we know this one. Because he was he wanted to get out and do it. But that's heavy how that one worked. It was very
quickly he knew he had the money. There was a few months to keep them with the script and then okay, we got money. We got it was a super micro bunch of job, so there wasn't a big lapse in time between finishing the script shot and.
How much later do you see it? And do you see it with subtitles first or just purely in Spanish.
The whole thing that I was, how I saw this one kind of generates in front of me was first of all that he showed me some of the footage school, and then the big thing that we went back and forth quite a lot was the look to make it look like that, and it was this nineties vaes that that that Blair witch vibe about it, and so we went back up for a lot on that, just sharing different sort of effects and how we go what we
thought he was this, how does that look? And we'll get there and eventually hit upon that that's what that's the look that's it, don't touch anything from there, that's what you need to do. And then yes with guys back and forth, and then he would give be like I saw a version with like rough translation sub set on it. I was like, okay, this is true. And then he got a guy who did a full on
propertranslation script, which is really great and really help. So yeah, in different stages trimming thing here, it's all it's a little bit too lock air. Let's cut it back. I think the leader to better his stuff, especially considering you've got that's what is it fifty six minutes with just the relationship before the needle drop.
You're writing this over in Ireland. He shouldn't get over in Chile with something like a found footage film. It feels like the sets or the setting would be really crucial. Is he going out and taking photos or is he just describing things or is it just one he knows.
Where to go. He's fairly good with the sort of the location. Some members shot around there and Dan Hills shut out and the forest and stuff, and then he had the bus, so he's pretty good at finding places. A creepy thing he was hiking and quite a bit. So if he's been a good eye for this sort of stuff.
Have you seen the movie with an audience?
No?
No, And it's one of those weird ones where it was doing the rents for all the festivals and I just haven't. No, it's not out here, so I'm hoping to get to see it. I've seen it a few times that just watching your at home, and I wish, Yeah, I would like to see you. But I think, truthfully, I think I've only ever seen two or three films I've done. It's I'm in a weird position. It's like you're the guy and you do the script and then
you hand it over stuff like that. I'm still thankful for where I am, but yeah, there's a few things I would certainly love to improve.
Are you still your own harshest critic when you're watching these gone I should have rewritten that. Oh I should have changed that.
Oh yeah, all the time. I do that with everything I've written. What's in the day job, it's the same.
I think.
I'm currently one of the writers on the new James Bond game for IOI to Active, and when I'm testing that, like always, well, you're always super everything. I wish you could always you know, change it and stuff like that. I do find, yeah, that I'm constantly really listening to stop. A couple of times, like some of the movies I've done and appeared on TV and I've stuck them on just to see and I was like, oh, I wish I changed that. But look, I think it's probably not
a bad thing. I was sitting there watching something. Yes, that's the best that could have done, or that's amazing. I probably shouldn't be doing.
What What is the difference writing between movies and video games?
I suppose the biggest difference is that it's when you're in control, you as the writer and the director, your control of every pacing to what the what the audience sees all that. And when it comes to a video it's a player facing experience. They're on the sticks, they're the ones controlling the game, so you have to take it to it. And even if you've got a very linear, straightforward the art game, the player will do things to defy the narrative, and that's the biggest And then of
course with games it's use so many different tools. You might write cinematics which would look like a screenplay. That's fine, that's not the easy stuff, right, but the one that looks most familiar, and then you would have all of the lines that the non playable characters might say, Hey, he's over there, they all. That's all Excel sheets, thousands of thousands of lines. You're using ovingds, bespoke software. You
might write a Microsoft word there. A lot of studios have tools, some of which will look a lot like final draft screenplay. But yet it's a bit of everything. It's a very Frankensteinian process. But it's fun, very chatting to.
I know you probably can't talk a lot about the James Bond video game, but I'm curious, with something like that which has such a rich history, are you doing individual scenes? Are you doing that kind of overall story, because I'm sure that you have to pay a lot of lip service to in Fleming and all the things that have come before.
Yeah, I can't really say too much, but what it is is it's an origin story and there is a really great story in place, and yeah, like make it what we believe is a really great Bond story. And of course there are going to be tips of the hat to everything stuff like that, but yeah, it's fun. I am ND Eight of the Hills it's so hard to talk about it.
Yeah, no, I can totally understand. It's such a huge ip and it's only been going on since the mid fifties.
There's a lot of that expectations and we're aware of that. And yeah, it's just it's fun. It's coming really great.
So that's the day job. What's the next movie for you?
I'm not sure, Like I had a couple of I've done a couple of scripts. I wrote an action script back at the start of the year. I think that's trundling through development. I'm not really sure. I just did a polished job recently on another project for a producer I worked with again on That World, Laris Kerchie. He's been a great guy. He's the doors for me. Actually had a lot of different opportunities in terms of my
own stuff. I've got two or three different projects that I'm developing, and I'm hoping to have scripts done by
early next year. It's find the time because when you're writing during the day, whatever it is, I decide to focus on as like my next project, whether it's specscript or something like that, I have to really be into it because I have to be able to come down here at sort of eight thirty at night, after I put the kids to bed, and I'm sitting right for like two to three hours, depending on how much juice
is in the tank. Really that's the truth. But yeah, well, a bunch of different a bunch of irons in fires and trying to see where I can take things.
Yeah, hopefully something hits for you soon. And in the meantime it sounds like quite a good challenge with the James Bond game.
Yeah, yah, yeah, that is a bit s good. Poe accept great Tam. Good people work with it, just trying to make the best game we can't as possible.
Mister Keating, Thank you so much for your time. This is great talking with you.
Yeah, likewise, I really appreciate all right, I.
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