SLFS Interview – Robert T. Herrera: Writer and Director of PALACIOS

PALACIOS screens Sunday, July 16 at 4:45pm at the Tivoli Theater (6350 Delmar Blvd, St. Louis) as part of this year’s St. Louis Filmmaker’s Showcase.

Ticket information can be found HERE

Eugene, an inner-city teen, escapes the city streets and hides away on a Midwest city rooftop during the Fourth of July holiday. He is found by Holly, a widowed alcoholic, who lives in the secluded rooftop dwelling with her Boston terrier. They commit to spending the day together above the city as they wait for a hopeful resolution to Eugene’s situation. As the day passes, a friendship grows even as their personal realities begin to catch up with them.

Robert T. Herrera, writer and director of PALACIOS, took the time to answer questions about his film for We Are Movie Geeks in advance of it’s screening at the St. Louis Filmmaker’s Showcase.

Interview conducted by Tom Stockman

Tom Stockman: What was your filmmaking experience before PALACIOS?

Robert Herrera: PALACIOS is technically my third feature film. My first film was a documentary that I never had the opportunity to release. I still think that first doc is my best film to date unfortunately. My second documentary, The Gray Seasons, was my first released film and Palacios is my first narrative film. I went to college for architecture, art, and philosophy. So making a feature doc was basically my film school. Professionally, I freelance produce, direct, and edit spots and brand content for clients, production companies, and networks around the country. While that isn’t “filmmaking” — it greatly influences what I do and how I do it. So, ultimately, I’ve been doing this for about 13 years now.

TS: How did you become interested in films? Did you grow up a movie fan?

RH: I’m a pretty classic case. I’ve wanted to make movies since I was a 5-year-old kid in South Texas. I was raised on a lot of media — probably a pretty unhealthy amount of movies, tv, and comics. But in the end I turned out relatively normal and pretty knowledgeable about ‘story’ I think. But most of my life has been focused around art and movies.

TS: Who are some of your favorite filmmakers?

RH: It mostly just depends on my mood. Of course I like a bunch of classic old dudes from Hitchcock to Malick to Altman. I really didn’t discover foreign films until college — and there are too many names to list there. As far as modern American filmmakers – of course, I love all-things Paul Thomas Anderson. Over the course of my recent career I’ve really been taken with Kelly Reichardt, Derek Cianfrance, and many others. And internationally I’m usually pretty excited about the next Wong Kar-wai, Andrea Arnold, Jonathan Glazer, and Dardenne brothers projects. I indulge in plenty of Hollywood fare also. And I’m a sucker for basically any dog movie — from 2014’s Hungarian film, White God, to 8 Below with Paul Walker. How can you not like dog movies?

TS: How did the script for PALACIOS come about and how long did it take you to write it?

RH: I usually refer to Palacios as a film not really written, but designed. Its creation revolved around what resources were available to me and what sort of “moments” I was living in at the time. It was designed around a few simple concepts, people, and locations. I collected those elements in my little brain and tried to develop something that 1. I understood enough to write 2. made efficient use of everything available to us and 3. felt “real” — for whatever that is worth. Once I knew WHO would be in there film, WHERE it would be shot, and HOW it would be shot — I wrote 2/3rds of a shooting script in a week. The entire 2nd act of the film was written during shooting or made up on the spot.

TS: Were these characters in PALACIOS based on people you knew?

RH: Yes and No. I really didn’t ask either actor to play someone that much different from themselves. Their backstories were developed between myself and actors. A lot of their interactions were based on interactions or relationships I’ve experienced.

TS: Tell me about casting Libby Bibb in the role of Holly. Were there other actresses you considered?

RH: I’ve known Libby Bibb since about 2004 I think. I was a finalist in a script contest and she was assigned to read the lead female character during the readings the contest organized. I loved her read. She was so natural and full of nerves and nuance. And she made it look so easy. We became friends and I pondered different film ideas for her over the years. Once it finally came time to make something in 2013 – I knew it would be for her. No other actress was considered. I don’t know if she would agree 100%, but I feel like her and I have a very similar mindset on what we want to see on camera during a performance. I think we have the same goals in that regard. Whether she thinks we achieve them – I can’t say. But I feel like we do.

TS: Your leading man, Olajuwon Davis, is currently serving a long prison term for a serious crime. Did his legal troubles start after your film had wrapped? What were your thoughts when you heard about the trouble he was in?

RH: This is a loaded conversation. I’ll just try and give simple answers along with my general feeling of the situation. We shot this film in the summer of 2013. My life and workload slowed down the edit process. His arrest came in November 2014, days before the non-indictment of Darren Wilson. That in itself is a long story, but it was a major shock to all that know him. The story surrounding his arrest and crime aren’t a full picture – and in my opinion – a distorted picture. And people that know Olajuwon, including most of us that made the film, feel that. His situation is one of the main reasons I waited this long to edit this project — and I almost didn’t finish it. But after long talks with Olajuwon, my crew, my wife, and just people that are important to my life and work — we decided to finish it. Olajuwon and his family are very supportive of the film. My crew and my family are still very supportive of Olajuwon and very much believe in him and who he is despite what is said and written. He is doing well. We talk regularly. He is very excited about the film. He just won Breakthrough Performance at the Jim Thorpe Independent Film Festival at our premiere in June along with us winning Best Feature. He is proud of the film and in his words – he intends to get out soon, get his life back on a positive track, and plans to stay involved in creative ventures, acting, and being a positive force in the world and in the lives around him. When you see his character in PALACIOS  — that’s basically Olajuwon Davis. I think people would have a hard time reconciling who they see on screen versus what they read about him — and I think that is something to think about when you read about all the young minorities out in this country who are considered irredeemable criminals.

TS: Tell me about the Boston Terrier.

RH: Of course! That’s my dog, Ingebar! He is a very expressive little guy – and not trained to do much of anything. Ingebar does what Ingebar does. Fortunately, he’s super predictable if you offer him tons of chicken tenders. So, he was really easy to work with on location — especially since that location was our home. In many cases, he shocked us with how well he took to just living his normal life on camera. He is full of so much attitude — and like I said earlier, I love dogs in films. This story needed him for balance and pacing — and in many ways he serves as a nonjudgmental figurehead — or completely judgmental — depending on how you view the movie. I wanted to put my shar-pei, George, in the movie too. But that crazy dude was as unpredictable as they come.

TS: Your previous feature was a doc about women’s basketball. What are some of the key differences between doc and narrative filmmaking? What would you like your next film to be?

RH: Obviously, from a logistical standpoint, everything is different. But in terms of story – I don’t see much of a difference. I mostly have the same goals with anything I make at this point in my career. I know this much – when making a documentary, I feel all the anxiety while in production. It’s not in my nature to be all up in peoples’ business the way you need to be for a good doc. But I feel completely at ease once I edit the film and screen it. In that case, I feel like I have done all that I could do to make that the best film possible. With narrative film – it’s the opposite. I feel no anxiety about the writing, development, shooting, and making the film. But when it comes time to screen it, I’m very anxious about it. I just shot a narrative short. And have plans to shoot another narrative feature in Summer 2018. I’d happily make another doc if one reveals itself – and there are many doc ideas currently in play, but narrative will be a priority for a while.

TS: What do you think of the local film scene? What do you think St. Louis has to offer for filmmakers?

RH: I have mixed feelings about the local film scene in St. Louis. I travel and direct commercial and client work in many different cities and markets across the country — so I get a pretty good feel for what is going on in those regions and cities, and many times it makes me frustrated about trying to make a film in St. Louis. Of course there is a flipside that makes me say, “this could only be done in St. Louis or a place like it.” So I see both sides of the coin. With that said, I have no burning desire to be anywhere else. I have been in St. Louis since 2002 and all my films have been made here. PALACIOS is very much a product of a Mexican-American Texan who lives in St. Louis City. And that’s a good thing. If all goes according to plan, my next feature will be shot in South Texas – but I will be bringing a lot of St. Louis with me to get it made.

TS: What St. Louis locations did you use for PALACIOS?

RH: The film was shot in my “unique living space” on Delmar at the north end of the Central West End. This rooftop, and how I came to be there for 8 years, is a long story that I won’t get into. But I always knew I wanted to shoot something there. I don’t know what percentage of the film takes place there — maybe 90%? But it was basically all on that roof, around the building and around the block — aside from picking up a few shots at the Grand Metro Station.

TS: What are your release plans for PALACIOS?

RH: PALACIOSw as made with zero expectations. It was made out of pure desire to experiment and to work in a way that made sense to us. That’s not to downplay its importance to us. It’s a film that we care about greatly. But we made it, we loved the process that we developed while making it, and we think we achieved what we set out to achieve. So, the release will be pretty standard. I’ll be curious to see response to PALACIOS throughout its festival life. So far, that response as been pretty great. My last film, The Gray Seasons, was able to fight its way thru festivals and ultimately land exciting distribution. Maybe that same route is in the cards for PALACIOS. I think we’re pretty okay at making watchable films. I’m not much for developing exciting distribution plans after its made. But the experience and connections made with my last film and through my commercial work should add to our ability to get this small film out there.

TS: How has PALACIOS been received so far?

RH: Response has been pretty overwhelming by those that have watched it so far. I’ve had some pretty intense discussions with audience members about not only the story and content, but just how we made this film in general. Our most recent screening in Jim Thorpe, Pennsylvania was pretty amazing. The crowd there was pretty taken aback. And we were given Best Feature, Best Actress, and Breakthrough Performance. It’s nice when people find value in what you do — however they qualify that value.