Cult Projections: You are from Panama, and studied documentary filmmaking, and have a background in special makeup effects and production design, and organising film festivals and the legendary Sites Zombie Walk! How did all of this lead to directing your first feature?
Sol: I had already made some horror short films and collaborated on several short films, video clips and had worked on the production design of Jota Nájera's first film, Megamuerte. Horror movies are something I love and being able to tell the story of La Tulivieja for the big screen was an honour.
CP: The premise of Diablo Rojo deals with folklore from Panana’s history. Why did you choose these myths and legends to put on the screen?
Sol: In Panama it is very normal, especially on the outskirts of the city, for grandparents to tell these stories to children. I grew up listening to talk and fearing that woman who was looking for her son on the banks of the rivers. And it's one of the reasons why I became a fan of the horror genre, I think because of childhood nostalgia.
CP: What exactly is the Red Devil bus? Why is it so important that you titled your movie after it?
Sol: The Red Devils are a collective transport that was for many years the only public transport in the city. Many times these buses were driven recklessly, causing several deaths on different occasions, especially due to the races that were held between Red Devils, to see who would arrive first at the a designated bus stop. The drivers and helpers were quirky, so the movie is also about a Red Devil's chauffeur and helper. The Red Devil is the only shelter from the terrors of the night.
CP: Tell us a little about your collaborator, Jota Najera. How do you work together?
Sol: Jordi is the scriptwriter and producer of the film, he is the fan of the Red Devils, he loves their horror vacui [fear of empty spaces]. I'm more of a fan of witches. Jordi and I have been working together for more than fifteen years, not only on film projects, but also on music, art, and doing horror festivals. We know each other so much that it is very easy to work together, we do not have super-specific roles either, so we get involved in the tasks of the other.
CP: Indigenous folklore is a rich source for horror movies. How significant is witchcraft in the history of Panama?
Sol: The truth is, the popular stories of the Panamanian imaginary are very rich and can serve to feed the arguments of a few films, however the most popular stories arise from the syncretism between Catholicism, indigenous beliefs and other Afro-descendant religions. Most of the stories were instructive for good customs, they were also used to evangelise.
CP: How easy or difficult was it to raise financing?
Sol: The production was a bit complicated due to the unpredictable weather, filming at night in the middle of the jungle, in the water and the excessive amount of insects. It was a bit creepy too. We got the financing because the script won the first prize of the national film fund and that's how we were able to make it.
CP: The special effects, production design, and art direction are key components to the movie’s look and atmosphere. How much of the budget was set aside for this? Was the movie storyboarded?
Sol: One of the areas where much of the budget was invested was in practical effects and also in visual effects. Yes, the movie had a storyboard, Sergi Galán was the one who did it.
CP: I read in a review that an early work-in-progress screening of the movie featured much more of the special effects. What was the reason behind cutting out so much of the effects work? Any chance of seeing more of that for the DVD/Blu-ray release?
Sol: Yes, we presented a work in progress in the Blood Window of South Window, there was a scene at the end of the witches in the river. In reality, what was done was to cut out the scene and later we filmed the close-ups of the witches that were later included in the film. Tulivieja's death was later filmed as well.
CP: Tulivieja is an impressive monster on screen. Shame we don’t see more of her! How long did it take to realise and execute the creature effects?
Sol: The Tulivieja is a mechanical puppet that Alex Rojas and his team designed and made, it took about three months to make it. It was filmed using green screen and later integrated into the movie. That job was also difficult and took a couple more months.
CP: As your first time in the director’s chair, what elements of making the movie did you enjoy the most? What parts did you find the hardest?
Sol: As my first experience as a feature film director, what I enjoyed the most was directing the witches' coven, and the sacrifice of the baby. We had rehearsed the choreography, and it was full of energy. What was most difficult for me was not leaving the chair and getting with the makeup and art team to do things with them, which I did a lot. I can't help getting fake blood on my hands. I also really enjoyed waiting for the church explosion, live and in real time. I was excited hoping that the bomb squad would get everything ready to blow up the church door safely.
CP: Horror is entirely subjective. How important is it to horrify an audience? How important is it to terrify? What is the single most important element of a horror movie?
Sol: I think that what can scare you the most is what takes you by surprise, even though there are people who after a jump scare are anticipating that at any moment another scare will come. However, as a spectator I am not scared much, I suffer with the characters but I’m not afraid whilst watching a movie. For me the important thing is the gloomy and dark atmosphere, it transports me to those places and I appreciate it a lot.
CP: The Coronavirus pandemic has cause major upheavals to the international film industry. What plans do you have as a filmmaker for the future? What kind of horror movie from you as a director can we look forward to?
Sol: Yes, certainly, many plans were postponed or went to waste. But it gave Jordi and I time to both start writing. He finished the script for Diablo Rojo 2 and I began to write another script for a film possibly called Sangre Negra.
CP: Thank you Sol!
