The Horror Returns - THR Bonus Episode - Interview with Dale Fabrigar, director of Reed’s Point

Episode Date: April 9, 2022

Join us as we interview Dale Fabrigar, the director of Reed's Point, available on VOD April 12th. Be sure to check it out, and thanks for listening! The Horror Returns Website: https://thehorrorreturns.com THR Patreon: https://www.patreon.com/thehorrorreturns THR Facebook: https://www.facebook.com/thehorrorreturns/ Join THR Facebook Group: https://www.facebook.com/groups/1056143707851246 THR Twitter: https://twitter.com/horror_returns?s=21&t=XKcrrOBZ7mzjwJY0ZJWrGA THR Instagram: https://instagram.com/thehorrorreturns?igshid=YmMyMTA2M2Y= SK8ER Nez Podcast Network https://www.podbean.com/pu/pbblog-p3n57-c4166 ESP Anchor Feed: https://anchor.fm/mac-nez E Society YouTube Channel https://youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A

victims. For those of you who delight and dread, who fantasize about fear, who glorify gore, welcome. You have found the place where the horror returns. Listeners beware, this podcast contains major plot spoilers. and the foulest of language. Join us in celebrating the old and the new, the best, and the worst in horror. Guys, this is Lance, and I'm here with, hey, second interview in two weeks.

What do you know, man? COVID fucking shut us down pretty bad. Oh, by the way, I'm letting my guest, Dale, know that we are, you know, we're marked. You can say whatever you want. So adult language, adult language is fine. But I am here with Dale Fabregar. That's it.

Yep. Okay, nice, nice. Okay. Dale is the director of a new movie, Reed's Point. And I'm going to do a little visit here. We've got some questions for Dale. Appreciate you joining us, of course. How long has Reed's Point been out, man?

Or is it even, is it something that our listeners can go find right now, Or is it on the horizon? It is in the horizon. It's very close in a few days. I think it's going to drop and hit the streets on the 12th. So just a few more days now, maybe next week. It should be at all the Walmarts and streaming platforms and things like that. Very nice.

All right, cool. So by the time this show is up, it should be available because I'll try to get the interviews up around. you know, Wednesday, Thursday, something like that. Our normal show, we get up around Monday or Tuesdays, so we try to give it a few days and, you know, throw in the interviews and the special episodes and that type of thing. So definitely appreciate you joining this man.

My pleasure. Thanks for having me. So I've got to ask you this. You said it's going to be out there. I'm assuming iTunes probably and probably could get it through, you know, Google Play and that type of. the thing? I'm assuming that's usually where it is, through Amazon, through some of those places. That's what they told me, because I wanted to confirm, and I said, what does that exactly mean? They said, that's what the distributor is telling us. So until I actually see it

myself, I'm always a little careful. So all I can just say is keep an eye out for it and do a search. I'm sure you'll find it. Understood. And was this, who did the work for this? Was this an uncorked picture or who did you mainly work with on this one? I worked with Suzanne DeLorentis Productions. It's her company and then we created the movie and then we went out to some partners and that would be uncorked and they're the ones that are going through our distribution for us. All right, cool. Yeah, we definitely check out a lot of movies from them.

Um, they, that, Concord does a lot of horror stuff, man. I, I'm sure they do other stuff as well, but horror is kind of like our bag, you know? Yeah. Oh, yeah, for sure. I mean, I'm sure you've seen a lot of their stuff. And they, they do it all, you know, they do all kinds of stuff, too, not only genre. They do, you know, different types of movies, but they do have a large library of, you know, the horror stuff. So some stuff is really amazing on there, too.

So, yeah. We're really happy to be working with them. again. Well, good deal. Good deal. By the time, like I said, by the time this interview is up, I'm definitely going to reach out and get some links so we can put them on our our Facebook group page, all the shit that Brian handles, because he's the young one of the bunch of us. So he does like all of our Twitter. And what do they call it, Dale, Insta? Is that it's no longer Instagram or am I missing out on something here? Yeah, I mean, I.G., whatever.

I'm older than you, probably, so I'm, like, out of the loop, too, but... All right, and, well, let's jump into the interview. Yeah, let's do it. Yeah, and again, I definitely appreciate you taking your time out to be with us for this. We try to get a couple of these out a month, and, yeah, really, really is nice to interact with the community. So definitely greatly appreciated, Dale. Yeah, no, we appreciate it too.

I mean, it's great to get to speak about the movie and get the word out, and it's always a pleasure. All right, well, let's start with a real basic question. So tell us a little bit about the new movie Reed's Point. What's the movie about, and how did you get involved in the project? Well, the synopsis is basically that it's about a group of. teenagers that heads out for a summer break and they get into a tragic vehicle crash in the middle of the night in the Pine Barrens of Jersey and one of the teens from the crash vanishes and goes missing so they never find her body which raises theories of this Jersey devil legend in that area

and on the anniversary of the crash the surviving teens they curiously decide to return to the crash for closure and to get some answers for themselves and to investigate and they discover a dark secret of what lurks in the woods. That's essentially it. All right. Gotcha. So where did you guys do most of the filming? Was it actually in New Jersey or did you film elsewhere? We had a, this was a low budget project and we were primarily located here in Los Angeles. So the answer to that is most of it was not shot in Jersey. We had to do it here in, like, Los Angeles and in spots that were really a challenge and a trick to pull off. We also did some, I mean, there was some B-roll, some additional footage that was shot from Jersey that we used.

Obviously, we had to get some stuff there. But most of the story, most of the cast, all of that took place here in Los Angeles. All right. So kind of like John Carpenter's housing, we had to sort of hide the palm trees and stuff. Oh my gosh. Yeah. That's exactly, we can talk about that for sure. Yeah. All right. Very nice. All right. So, of course, I don't need to tell you this. A lot of things have changed in the last two years. Did the, and I don't see, here's the thing about this movie that you can film in on. I don't know when you guys started it or when you actually, you know, worked on

production. So my question is this, did the COVID situation create any special challenges for getting this movie either made or distributed? And, I mean, were you able to hit the, you know, the festival circuit at all? Or how did you, you know, get the word out on this? Yes. The world was crazy during the time that we were filming this. But as, you know, we just tried to be as safe as possible.

during that time. We took our precautions and we were very lucky. No one got sick or was infected during production. So it was really great. It was, you know, it's always hard, harder to work in those conditions. You're always, especially during that time, we were always a little nervous because we didn't quite understand. I mean, we just didn't know that much about everything as much as we do today.

and it was just heating up and then going down and then picking up again. So it was really tenuous, but we as independent filmmakers, we just always just push through. You know, we just, that's how that's how Suzanne does it. That's how our team does it. And we were, again, we were safe. And all we can do is what we do. And then again, everyone was okay. It didn't really affect distribution because that happens towards the end of the run or the completion of the film.

Okay. But, you know, for myself, it's always a challenge in having a mask and all this, you know, protection because it's just one more layer between you and your crew and your actors, you know, to communicate. And it's all about communication and speed when you're on these projects. And, you know, to have that in the way, it's like, what? What did you say? Oh, yeah, yeah. you know, just that other confusion, but we pushed through and we got through it and it worked out okay. So, yeah, everything was fine. Gotcha. So, so when, um, Dale, when did you guys

do principal photography? Was it like over a long period of time or did you, you know, get this, get this turned out in a relatively short amount of time, you know, despite the COVID issue? Yeah, I would say that it was, it went pretty quickly. It was about a, it was about a year ago and it was just through you know it's post production is where things got you know hung up because you're in a room but when you're filming you're out the outdoors and you're running around it's a little easier but if someone you know in post production or whatnot there's a careful scare or someone got exposed or you always wait you wait two weeks yeah so that situation was a lot slower but suzanne really you know

She moves really quickly. That's her style. And we do produce these things rather quickly. It's shot probably, you know, these shoots are very, they're less than, you know, like 10 to 15 days, you know, something like that. They're done primarily in about 10 to 12 days and then we have a few more pickups. And someone say that's actually a luxury as fast as that is. But we just, you know, do it as quickly as possible or what we can afford to do. It's all within the limitations of our budget, really.

That's the only thing that, you know, stops us. Yeah, understood. I mean, indie filmmaking, you know, it is what it is. We've talked to people that have, you know, cranked out a movie in less than a week, start to finish as far as principal. And we have actually, you know, interviewed people that it's taken them like two years where they can only film, like, on weekends or, you know, certain days of the week or whatever. so everything's different, right?

Yeah, it was. And in this situation, too, I guess I could mention this, but our lead is Sasha Ann, and the project was pretty much created for her. And she was at the time battling cancer, and she was in remission, and that's how this whole entire project came about. Wow.

So Suzanne, yeah. So Suzanne got involved, and we were contacted, and they were trying to create a project for her. And it was going to be like a short film or something like that. And then she talked to me about it, and I definitely wanted to be a part of helping that out. It was like a make-a-wish type of project for Sasha. And we thought, yeah, let's create something and do it. So it just evolved into something larger.

And once we figure it out, you know, how long it's going to take and the cost of doing it. it, we thought, we might as well just really, you know, let's try to make it a little more significant. And so the bar and the challenge went up, you know, she was brand new, didn't have a little to any experience to carry a film as a lead. So that was scary and fun at the same time. Plus, she had, you know, she'd just come off of her treatments and, and all of that. So she was, you know, it was tough for her. but that just made this project that much more special. You know, we just went ahead and did it, and she pulled through. Man, all right, well, shit.

I've definitely heard some stories, but that's very unique, very unique indeed. So thanks for sharing that, Dale. Yeah, yeah. And we've been in one of the versions for the festivals. Yes, we did send them out. to a few festivals too. And in one of the versions, there was a little letter from her to the, to the audience, you know, just thanking everyone for the experience and for her growth in it.

And, you know, to see her now, you know, with this time, I mean, there's something that has sparked in her, you know, and to see her and be empowered and healthy and just, you know, on the go. It's really great to see that right now. and who knows what she'll do next. Oh, man. Yeah, understandable. Understandable.

All right. So the film centers around the urban legend. I put that in quotes, right? Because it can be true. The urban legend of the Jersey Devil. And a lot of the filming was done at night in what appeared to be some pretty creepy and remote locations. Are there any on-set stories

that you can share about the making of the film? film. For example, did anything strange or unexplained happen during filming? You know, any horror stories or just bizarre stories that you can share with our listeners. Wow, great question, man. Well, we did shoot in some creepy places, but it was only creepy because we made it look creepy. You're in the woods, and we, you know, it wasn't huge woods. thing in Los Angeles. We had to film within this little small swath of a few feet, you know, of trees, very much like hiding the palm trees. We had to find areas that look like a forest. Right. We just don't have that much. At least you didn't have to film out in the desert like

some of the old Star Trek stuff. Yeah, yeah, exactly. Not on this show, at least. And it was night, so that kind of helped. So, you know, whatever you just, you point in this direction, there's a bunch of bushes and you're putting that to some trees and we just have to keep mixing that all around. But, you know, the woods were, you know, ranged from a little park, you know, on the hill, on the corner, and people are picnicking and having, you know, pinatas right just 20 feet away from us. It was insane. A lot of sound editing. Yeah, yeah. But, you know, there wasn't a lot of creepiness there.

But oddly, or what's kind of cool is there's a scene which occurs in this house. and the house that we filmed in has been known to be haunted. And it's factual, apparently. And we had filmed there before. We loved that location. And we went back there and we shot more of the house because we've done some shorts there and tried different areas of that location.

But this one, we really shot almost every inch of that house and explored new areas. And it was really exciting. but that house was supposedly haunted. And I would say that nothing really truly creepy happened, but there was one moment, and this is like the second time this has happened. And it happened at a house that was haunted too.

But I kid you not, I recall it was pretty much our first shot of our first day. And we were shooting. And I just remember whispering, because I don't want to freak everybody up. But I was kind of telling my script supervisor or my AD and going, hey, you know, this place is haunted, you know. And they're like, really, really, blah, blah, blah. But on our first take, you know, everything is up. We're ready to go. Everyone's excited.

Roll the cameras. And then boom, all the power goes out. Not to the house, but just to our equipment. It just went dead. I were like, that is just weird. And oddly, I thought to myself, this has happened to me once before at another place that's similar to this place. So I was really calm about it. And I remember yelling, you know, outward to anyone that could hear on.

And I said, it's okay. We're good. We love the house. We're going to be taking care of it. Everything is good, you know. And then we booted up, and we never had any issues after that. But, yeah, it's a really cool location. Many people have filmed there as well.

We had had a blast that we had to art direct and change areas and create it in this house. It was a rather big mansion type of house. We were over there for a few days. But yeah, that's as creepy as it got. And in the woods, we ran into some rattlesnakes and coyotes, you know, here in the mountains. And they came very close. But nothing that couldn't be explained. Okay, gotcha.

All right. Very interesting. One thing that I noticed when I was watching the movie, and this is definitely a big shout out to, you know, whoever was doing your special effects, but I would definitely say especially for, you know, you know, not a Michael Bay or like super high budget movie.

I think I would say a lot of the gore and special effects seem pretty realistic. Like there was one scene in particular involving a neck that just really set me on edge. So who all was involved in the effects for the film and was it a team effort? or did you have, you know, kind of like a makeup and special effects guru? It was a team thing. It wasn't a lead person. I love talking about this, you know,

because that's the fun part of these movies, right? I mean, you escape. Of course. That's why we go. Yeah, right? And as much as there was, I really wanted more, if you can believe that, and I know you can. And, like, you know, the first scene was really a lot of fun. We pushed to get everything, as practical, you know, as we could. And it is all constructed, all practical. There's some, there's some digital work throughout the film, but it's all practical work, most of it. And I had a team of a couple of guys, and they work with 13, 13 effects in Vegas. So they're like four hours away, and they're under Tom Devlin. He's a guru out there. We worked with him years ago, but I said, I'm looking, we need some makeup and effects. And he said, he said,

I know these two guys, and I used them before. We tried them out, love them. They came out. They're so passionate about what they do and did a really great job. We just have like a couple of phone calls, and they were just on it. I mean, they were just so on it. The two guys were Chris or Chippy, Arirondo, and Walid Achi, I think that's his name. But the two guys are a team.

They're partners, and they kind of came out here and pulled off a lot of like some of that gore that we see. And then we have a makeup and hair department. You know, they're pretty much doing boring glamour, right? Just cover our actors. But one of the makeup people there is Tricia Heel, and she also does special effects. And the one that you just mentioned specifically, she did that shot because the other two, after we did that, they took off. They did the bigger stuff. And then I just had this one neck thing. By the way, that scene was a picket. up shot. Originally that character, we rewrote it so that that particular incident happens, because we thought we need more. You know, we need that scene. And then we all sat down and said,

this is the person that should, you know, meet their demise in this certain way. And who can do it? And we just wrote it just so we can create another great little moment. And it was so worth it, I think. Nice. All right. Yes. Yeah. They say her name. That was Tricia Heel. She that's her name and then Kyle Thompson at Midnight Effects created and fabricated the the monster suit. Gotcha. All right. So definitely some, uh, some names that we're probably going to continue to hear over there. Yeah, just got to give him love whenever I can. Nice. Um, all right, man, I got to ask. Okay. What was it like working with Joe Estevez? All right. To say, to say he put on an animated performance is an understanding. statement. Was he having as much fun as it looked like he was, or is he just that intense?

Oh, first of all, Joe, we worked with him on another smaller project, and it was such a joy to work with that guy. It was a blast. We enjoyed each other so much, and this one little, it was a cameo, basically, and his name popped up for it. And I said, he's not going to do it. But he just was just so much fun to work with, and he's like, I'll do it. I want to do it. You know, I just want to come out. He was all in. No, he was absolutely all in times ten, right? As you saw.

And originally it was supposed to be, it was going to be done a different way. And I wanted someone who was pretty mad and, I mean, insane. You know, that's the idea. Someone was really touched, if you will, by this incident. And they just, he just went all out on it. And we have different takes on it, you know, different deliveries, some are more intense, some of them are more scary or some of them. And these are the ones that kind of,

These are the ones that made the cut, and, you know, for various reasons. And, yeah, I just wish it was more, you know, but, yeah, he's really a lot of fun to work with. He really is a great guy, really talented actor. Nice. All right. All right. Did that answer your question? When you say he wasn't angry.

Now, have you worked with him in other projects as well? Yeah, we worked with him on another one where he was, he played entirely different characters. and he is a fantastic character actor. He really is. Yeah, he's definitely got some street credit. He's been real proud. Yeah, and so to work with him and do that was, you know, a lot of fun. And I remember that particular day was a little crazy because the camera broke down and all that.

It was just we had to go really quickly and we're outside and there was no permit for, say, that area. And so I just, we had to get out of there, you know. But he just, right? Low budget filmmaking. That's where it goes. No, I get it. But that's what makes it so, you know, the memories, you know. Sure.

You kind of romanticize the memory more than it is at the moment because it's just hell. When you're doing it. You're like, how do it like when you pull this off, you know? But in the end, it all works out great, you know. And again, working with him is awesome. Yeah, sometimes you have to be a guerrilla filmmaker, man. You got to get in and get the shot, right? Oh, yeah.

That's the way you got to do it, especially at this level or else you have to push. You just have to push and you have to get it done. Safely. Yeah. All right. Well, in addition to directing, it looks like you have done some writing as well. For example, it looks like you co-wrote a movie called Derailed with Suzanne, who also worked with you, of course, on this film. I got to tell you, derailed just looks absolutely.

fucking nuts. It looks insane. And I can't wait to watch it. But can you tell us anything about it and do you plan to do more writing? Yeah. Okay. So, derailed.

I love that movie for a lot of different reasons. I mean, when it went out, it's a weird and strange movie. Not weird and strange and psychedelic, like Mandy or anything like that. It's just a It's a it's a mashup of different ideas and for good reason. And I think when it came out, people were like, what is this movie?

You know, the filmmakers don't know what the heck they're doing. You don't know the kind of movie that they're making. And I get it. I understand that. But we knew going in that it was going to be probably received that way. And I got to give a lot of love to Suzanne for making it as well as the writer, the other writer was Everett Wallen, who is a writing partner as well as a very fantastic and talented actor. He wrote it with me.

Who is that again? That's Everett Wallen. He's one of the characters in the film as well, and he acts in it too. And, yeah, so he and I really, we weren't going to do it, but he fell in love with my pitch because I had this idea. And once he, you know, understood what that idea was and got bored, he couldn't stop thinking about it. And we just went and wrote, wrote, wrote, wrote, and it was a lot of fun. Plus, it has all these period elements and modern elements mixed with different kind of ideas there. And people will say, what, they'll scratch your head, which is probably indicative of the kind of stuff that we do.

Because you saw Reed's point, and I'm sure at the end you're scratching your head. What? What was that? You know, but yeah, derailed is something that we wrote. and it has a lot of ideas in it. It was a fantastic ensemble, which we assembled as well for like Reeds as well too. And it was great actors.

And some of those from, you know, from that film we pulled into Reeds and reworked with them too and gave her larger roles. It was so much fun. But yeah. And then we got to work with Lance Henriksen on that movie, too. So that was amazing.

Yeah. So, you get a chance. check it out. You know, it's, it was really cool. And looking back at that, too, I go, wow, I don't even know how. There's just some beautiful moments in the film and some fantastic performances with Carter Scott and, um, Shea Smollick, a young actress. And we got, we were lucky also as well as Lance Henriksen.

We got Frank Lamers, a Dutch actor. Uh, just, it was really a special one. Um, and we just figured, you know, we just did the movie and, um, you know, some people, are starting to discover it now, which is really interesting. Because, you know, in this business, we get our butt kicked constantly. And we're told to just give up, you know, and, you know, you suck and all that kind of stuff. But, you know, hey, the story is out there. And it was special to us in just moments.

It's, you know, not perfect. It's low budget. But there's some really cool moments in it. You know, I think, you know, this, that one we had to also use VFX. So that one was really tough for us because I love to Mostly film you know everything practical But there's some things you just can't do as you'll see if you see the movie But it's brief and but it's a really cool story I think really really cool

And if you sit down and you think about it Then you start if you start to fall into it a little bit and understand exactly what's going on It couldn't be even obvious But once you understand it you'll really get into it and that's what some audience members, that's what happens to them. Some people, if you just watch it, you go, that's weird, this, okay, that, okay. But when they get into it, they totally and then they watch it again, actually, is what happens that I'm told.

They just watch it the second time. It means more to them the second time. Yeah, well, I've actually got it on my to watch list, and it is out there on To Be. Yeah. So, you know, if you like free movies, Tubebys, Tubey's free, you got to sit through a few commercials, but there's some great stuff there's Yeah It's one uh it it's out of all the stuff from your body of work

That's the one I'm definitely gonna check out So yeah Cool I kind of spoke to me from reading it Yeah I mean our first one with Suzanne was Area uh area uh Area 4 or 7 that was the very first one And we shot that in five days

So we were one of those uh filmmakers That did it in less than a week And it was our our smallest and fastest And that one went all over the place And did really well For everyone So that was pretty much the genesis of our partnership and producing more projects in the genre.

And we do all kinds of things, not just horror, by the way, but these are the ones we have the most fun with. And this story was one that was with Suzanne for the longest time because she's from Jersey. So this was a chance for her to finally make this little movie that she had in her head for a while. And then she hands it over to another writer and it comes on to me.

and then we just sort of, you know, we craft it and, you know, get it in line for what we can actually make. But, yeah, I don't call myself a writer. I don't fashion myself as a writer. Okay. But I will always, you know, work with writers. And you can't give me a blank page and I can come up with something. I'm just not that good. But if you give me a little bit in a sentence and a couple of words, I can make something out of that.

But you know what I mean? Sure, sure. You give me an opportunity to work with some writers and some really talented folks. It's just, you know, who knows, the sky's the limit at that point. Well, yeah, I mean, all this talk kind of takes me into my next question. Speaking of Suzanne De Laurentis, it definitely looks like you, you know, work with her quite a bit. How did you, how did you guys meet? And do you plan to continue working together?

Yeah, I worked on a horror web episode with another producing partner at one point. And that was a lot of fun. And she got involved in that series. And she was sort of on the outside. She's the producer and kind of oversaw certain things and got involved at that level. And then we did that and that went really well. and then we Everett again and I

we came up with this other action you know episodic which was amazing it was it was a bit like you know Lefem Nikita before Lefem Nikita and the films that came out and and what is that Black Orcid or whatever but it was

it was an action spy type of movie and we were selling that and pitching that and then Suzanne was involved and then she said hey you know while we're doing this and waiting for this to kind of you know catch heat or while we're in the process

I had this little tiny movie that I have in mind can we do this and that was our very first film and that was with Everett as well he did that too so we go back the three of us really and and we he produced that he

she produced that he wrote and directed that with me. And after that, that did well. And after that, the rest of history, we just kind of kept working together on different things. Very nice. All right. Great. Well, yeah, we definitely, you know, we get quite a bit of feedback that will, you know, read halfway through our podcast every week. And we definitely have a lot of listeners that are, you know, in the, in the filmmaking business or aspiring to either write or, you know, do filmmaking. So, um, Do you have any advice? Like, how did you get involved in the biz?

And is there anything you would have done differently? Had you known then, like, what you know now? Yeah. I always made movies since I was a kid. So that was always in my blood and my DNA. My folks were not really into that being, you know, our culture was very into the professional medical sciences. and so I didn't understand the arts as well. But in the end, they did.

I convinced them, I guess, but I had to study for not film. I went into design. So that was my formal visual training artistically. Okay. And so I came from that place, but I only did that so I can get into the art department so I can get into the film department.

You know what I mean? So there was always that agenda in the back of my head. I always wanted to get into film. And I did. I took my money, made my own movies. So I did not go to film school. So that's the quick answer or the long answer to that question. I didn't go to film school.

I just did it myself, met other filmmakers and made alliances with them, and worked with real actors, and just went through the process as professionally as possible. And so, you know, if I could give any advice, it would be pretty much to just, would be to create and do as much as you can, you know, as early as you can, you know, just and, you know, work with what you got and within your means, meaning that if you have actors, work with them, you've got locations that, you know, exist, work within those locations, you know, and tell the stories that you know that touch you, you know, just be, be bold and do it, you know, and be open and resilient to, to ideas out there.

that might be different than yours, you know, and to be open to change and rolling with it, you know, because we get stuck in our vision, if you will, always stick and adhere to it as much as you can, but, you know, there's things that you just have to, you just have to go with it or else it just will not get done, you know, and that's really the goal as you develop and get more experience. It's just to kind of keep doing and doing and doing it. In that process, you're going to meet other professionals working with other DPs and other actors, other crafts people. It's really cool. And just don't give up. Just don't give up. That's my advice. It's kind of cliche, but that's all I can say. That's how I did it. If I have anything to, if I could have done it again, I guess, you know,

I was kind of behind the eight ball on social media. Okay. And that whole self-promotion. Yeah, I didn't quite understand. I mean, I was always, my head was down and working hard. and doing and, you know, honing my craft is kind of what is the goal. But, you know, that self-promotion I probably could have maybe focused on that more, which I know there's a lot of people that just solely focus mostly on that, you know, and they keep very busy that way. So, you know, there's different ways. And the world is different now, you know, from when I was doing it.

I mean, never has it been easier before or harder to be effective. filmmaker, you know, because everyone can do it now. Cameras, equipment, everything is just, there's no more keepkeepers, you know. So it's you're only limited by, you know, what you're actually doing, you know. So, yeah, that's what's happening and that's the world of today. You know, you can just do it. Yeah, I got you, man. No, at first I was afraid you were going to, You said you're grown up in a family of people that were, they had an emphasis on science and medicine and things of that nature. I was afraid you were going to say a religious cult.

So I'm glad you didn't go in that direction. Well, that would have just been fodder for material, you know. All right. Well, what other upcoming projects do you have in the works? And is there anything that you're actually able to talk about with us at this point? Yeah, we just finished deliverables on a new horror film called They Crawl Beneath. So you may be hearing about that coming soon. That's going to probably draw up in August sometime.

And that's a creature feature. It's a lot like fans of tremors or slither. Oh, wow. It's that type of thing. It's all practicals, creatures designed by Dan Reeve. recreations. He worked on Itsy Bitsy and I think the original Slither as well and legend and we were really lucky to have his expertise on. So he was the creature guru on that film. But yeah, it's a it's about a guy who's trapped in his garage during an earthquake and these creatures

terrorize him during that period. It was inspired by, did you see that movie buried with Ryan Reynolds? Of course. Yeah. It's basically a a one-person movie. Yes. So that inspired Suzanne. Okay. Let's make something like that, but with monsters. Okay.

And so this is what came out. And in that original idea, it, you know, evolved into something more complicated. And we took it outside of one location for many reasons. But, yeah, that was the initial scene of an idea. And that's kind of where this whole thing came out. So that's going to be happening, I think, in August. I think, sometime around that time. And it's a little bigger movie than this one, but not too much bigger.

But it should be a lot of fun. Yeah, well, August is right around the corner. So we're here in no time. We'll have to keep in touch for sure. Yeah, and then we're also working on a couple of other projects. One's kind of a reality show concept. And one's a... Oh, God.

I know, right? Yeah, see, we do what we do. But there's the one in the editing room all day to day is this brand new comedy, and it's about cats and dogs. And it's based on a book series, and it's just episodic pilot project that we're working on. It's been a lot of fun. And coincidentally, the very first episode is about this character who could swear a cat is trying to kill her. So that's right in our wheelhouse. Okay.

Very interesting. All right, man, well, final question. And this is one that we ask of every single guest that we've ever had on from day one. Are there any special causes, charities, or organizations that are near and near to your heart? And if so, how can our listeners get involved? Oh, there are a couple. one is well I'm part of this Phil M. Creations group and there's been a big you know a lot of interest and a lot of heat you know we've been trying to get out there and do our things I'm Asian American and I'm specifically Filipino American and and we've just been just really working hard working hard trying to get our work out there and and hoping that things can happen so there's a group of us and it's starting to grow with more awareness.

And so there's that group. And they extend from different parts of the state, but mostly in Los Angeles, because that's where a lot of all this work is happening. So we're part of that group. And it's very still small relatively, but it's growing with everything that's happening now. So that's, it's great to support others in, you know, in your arts because it's been very difficult going. But it's all good.

And then there's, you know, Suzanne does a lot with veterans. And she does things at least once or twice a year with veterans. And there's like a veterans charity that I like, you know. And it's called Move America Forward. And if you've heard of that. Move America forward? Yeah. Now is it taking care of veterans that have needs that aren't being met by the government?

No, those are there. And, you know, you've got to be careful, you know, with there's so many places you can always donate and this is one of those places. I, you just never know where exactly, you know, your donations are going to go. So I'm always guarded about that. But that this one has been around for a bit, but it's, you know, for me, it's great. They basically send care packs to soldiers during the holidays and things like that. It's just, it's a great reminder.

You can write them a little note or, you know, if you want or you just do a donation and they just send out care packs during the holidays. And, you know, it's like candies and, and, and, and, cool little, little knickknacks for them as they're out there, you know, doing, you know, fighting for freedom. And it's just to let them know that we're grateful, you know, and that we're thinking about them. And, you know, hearts and prayers are out with a mother away. So they're not forgotten while they're out there. So that's, those are the main ones. I think there's another one that my wife is a part of, but this is the, these are the ones that are kind of cool to me. Very nice. All right, man. Well, Dale, thanks again for joining us.

You know, once again, you know, before we sign out, where can our listeners find? Well, you said, not quite yet, but where are our listeners going to be able to find the film? And where can we check you out through social media? I'm only on IG, so it's Dale Fabregar. That's my name, D-A-L-E-F-A-B-R-I-G-A-R. And that's where you can find me. I don't post a tremendous amount See there I go again I should work on my soft promotion and social media

But that area is a place for me to kind of escape And sometimes interact with different people I've met some really great people on there But yeah that's where you can find stuff And then of course as projects get released You'll find more information at that point Cool And we'll be able to check out the movie here

Again by the time this episode is up. I'm sure it'll be out there and go out and support our local filmmakers guys and check up this indie film. Once again, Dale, thanks for joining us on the show, dude. It's been a great interview and look forward to seeing more stuff from you. Oh, my pleasure. Thanks for the opportunity to be.