PipemanRadio Interviews Jeff Burton Director of Horror Short Ophelia

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Hi, you have done too this
censure? Wow crazy you? Why up

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America, It's time for the Adventures. So pipe Man on W four C.

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Why I'm com wiz pon Beach is
number one Internet radio station. Here's

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your host, the vipe Man.
This is the pipe Man here on the

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Adventures pipe Man W four C Y
Radio. And I'm very excited about our

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next guest. I know there's a
bunch of people in our network that would

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be excited because we love, love, love horror flicks and this one is

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really really cool. You're going to
want to check it out. So let's

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welcome to a show. Jeff Burton, how are you hey, I'm doing

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good. Thanks for having me.
Oh my pleasure. And uh so tell

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us a little bit about ophelia.
Where where did the brainchild come to?

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You know in your head for this? Yeah, so interesting story. When

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I was younger, I'm from Michigan
and grew up just outside of Detroit,

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and in my city there's a psychiatric
hospital called Eloise. It closed down in

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the eighties, but at one point
it was the biggest in the country,

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had its own zip code, its
own fire department, all of that.

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It was massive. I remember when
it closed down in high school a couple

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of times, sneaking in and scaring
myself, you know, walking around the

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halls and you know, pitch dark
and just it was scary, and that

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that feeling never left me. And
then a couple of years ago I got

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a call from a high school friend
who said, Hey, guess where I'm

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at. I'm in Eloise, and
somebody bought it and they're turning it into

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a haunted attraction. So the guy
turned to the first floor, in the

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second floor, or excuse me,
the basement in the first floor into a

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really high level haunted attraction. Two, three, four and five is still

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paranormal investigators all that kind of stuff. So I asked him, I said,

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if I come up with these ideas
I want to do like a horror

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universe like Conjuring and Annabelle and you
know, throwing an offshoot like paranormal activity,

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could I shoot some of it here? And he's like, yeah,

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one hundred percent. So I spent
the next year, some with a writing

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partner and some on my own,
coming up with three completed scripts for full

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length movies. And then we decided
instead of look books and you know,

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business plan and all that stuff,
let's just do a proof of concept short.

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What do we want that short to
be? You know, it's got

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to stand on its own, it's
got to get there. It's gotta you

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know. And the idea for taking
the character out of one of the movies

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and giving her her own short film
in a sense, and kind of introducing

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people to what this could be.
And you know what, right off the

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bat, like even from the trailer, it catches my attention right off the

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bat, which is the key to
what you want, because listen, you

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don't catch somebody's attention there, where
are you going to catch it? But

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it interested me totally because of the
fact that I've had my own experience with

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a paranormal but be psychiatric hospitals.
You know. I used to live in

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a house in Marlborough, New Jersey, directly across from the Marlborough State Hospital,

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which also no longer there, and
me and my bro used to sit

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outside on the front porch and there
was some weird stuff that would go on

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at night outside that hospital, and
like we weren't sure whether it was real

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paranormal or what was going on,
but it was like, I think we're

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gonna go back inside. I'm with
you there, you know. And then

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I had another scenario. You're gonna
laugh at this one because this one I've

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never told on the radio ever.
But my father was you know, he

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was kind of a party animal,
and he ended up like going nuts from

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that and he my my family locked
him up in a mental hospital in California,

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and he I went that he wanted
me to break him out of the

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place. He called me, and
so I was like, I don't know,

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sixteen years old. I went down
there, and when I walked in

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the place, it gave me the
creeps the minute I walked in. So

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like something like, this is not
just a horror flick. It's like it's

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real life, this stuff that happens. And so tell us a little bit

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without ruining the movie, a little
bit about the story behind the short and

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the full length movie as well.
So what I did was, you know,

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I tried to create this backstory of
in the late eighteen hundreds, they

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were putting people in asylums for anything
like tuberculosis, you know, gonorrhea,

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menstruation, like not to mention just
normal things, you know, but even

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Parkinson's and like anything that they didn't
know you had to be crazy and they

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put you in an asylum. Well, what if in a remote area the

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government actually authorized the build of a
massive asylum for the worst of the worst,

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like people who were criminally insane and
all that stuff. And what if

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there was a doctor that headed this
whole thing and he did his own types

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of experiments, like really throwing the
rule books away and anything goes And what

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if this doctor had a little girl. That's where Ophelia came from. She

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saw all this wow, and you
know, and that's not even so far

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fetched because I lived in Agura in
high school and ninety percent of my friends

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were locked up in Woodview, Calabasas, which is also no longer there for

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the same type of reasons, like
parents can control their kids, so they

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didn't know what to do, so
they got pitched to put them into these

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mental hospitals. And there is some
weird stuff that goes on mental hospitals.

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That again, that's what makes what
you're doing so great, because it's not

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far fetched. You know, there's
a lot of weird stuff that goes on.

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Well, I have this paranorm uh
paranoia of what what if you get

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wrongfully put in an asylum and they
start giving you medications that completely put you

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in the mindset like you should be
there and not from the outside. They're

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looking at you like, see,
he is crazy, but it's really just

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a medicine. And what if that
gets worse and worse? So that,

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to me is maybe the foundation and
for all of this. And one of

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the movies I wrote with one of
my writing partners, which is right here,

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seven Cells. That's what that's about, which is what if you woke

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up in a concrete room, total
darkness, you didn't know where you were,

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why you were there, and worse, who you are, and then

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you find out there's seven others.
You know, that's like the first five

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minutes of that movie, and then
it gets worse. So that's my paranoia.

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And then I you know, and
that all happens to take place in

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this asylum one hundred and eighty years
later. Wow, But there's all this

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Ophelia stuff, and I have like
an eighteen ninety two backstory film that kind

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of you see it unfolding in real
time. Then movies like the short film

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you saw take place present day and
is Ophelia a ghost? Is she you

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know? Who was there with her? You know? Because you saw the

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ending without giving anything away. So
I think a lot of people have paranoia

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of even if it's as basic as
what if your fate was out of your

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hands? That she usually is in
nose plays, right, Yeah, you

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know, And I started, you
know, with a super low budget movies,

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you know, back when I was
younger, and you know that starts

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with just the simple, you know, crazy person running around hacking people up,

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and you know that's kind of what
you cut your teeth on if you're

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a horror movie fan. And you
know, I grew up on John Carpenter

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and you know Friday the Thirteenth as
well, and you know that kind of

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stuff, Freddy Krueger. So that's
all in me. But then all of

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a sudden, Scream came along and
it was different. Then you know,

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the Blumhouse stuff with you know,
their their take on their early films,

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which you know, you get Annabelle
and Conjuring and you know, different things

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from that time period, including paranormal
activity. And so, you know,

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being haven't been around for a little
while, I've experienced quite a few takes

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on the horror world. And I
was also lucky enough again being from Michigan,

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when I made my first movie.
I was introduced to a gentleman named

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Bill Vincent, who is the ms
the Michigan State University screenwriting professor. He

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was Sam Raimi's professor, and Sam
Raimi did The Evil Dead and Army of

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Darkness and a bunch of great movies
including you know, Oz, the Great

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and Powerful, plus the latest Doctor
Strange multiverse movie. So he's a big

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time director, but he started with
a couple hundred thousand dollars, you know,

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coming up with this idea in Michigan
with his MSU professor. And I

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was lucky enough to that professor introduced
me to his brother Ivan, who wrote

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Army of Darkness, Spider Man three
Dragged Me to Hell. We became friends

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and we did some writing together.
I did some writing with Bill Vincent,

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the professor. I also did some
writing with a gentleman named Chuck Farr p

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F A R. R. E. R. And he's a former Navy

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seal who actually wrote the movie Navy
Seals back in the day with Charlie Sheen

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and then went on to do quite
a few big movies like Hard Target and

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The Jackal and Red Planet and you
know, a whole host of movies and

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working with these people. It really
brought out I was more visual. I

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cared about the shot, and I
cared about the audio and the sound design

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because I'm a former musician who you
know, recorded hundreds of songs and scored

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my first eight movies. But once
I met these people and they taught me

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how to put a basic plot line
together. You know, movies have to

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have beats, you have to scare
people at certain points. You've got to

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do this stuff, and there's a
process that people are used to receiving.

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Now, you can always vary eight, you can always take risks, and

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you know, change things up,
but generally speaking, there's there's a formula

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that if you can you can get
a story to weave into those plot points

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and those expected things and then some
unexpected things and then your own twist on

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things. That's when you start separating
yourself from your early works. Yeah.

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And you know what, though,
I have to say, I personally sometimes

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like a low budget because I think
some like you take some of the movies

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now that are remakes of movies from
back when I was a kid, like

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seventies and eighties. I don't like
the newer versions like I like the older

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versions, even though it didn't have
the special effect. It's just more real.

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And one thing I can say is
while I was watching Ophelia, I

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mean I didn't get to feel it
was low budget at all. I felt

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like it was like a full motion
picture. And you know, credit to

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you. And because also how many
things scare me too much and that,

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you know, like we got Halloween, I go to haunted houses and I

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scared of people trying to scare me. I never really get scared in a

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haunted house, but in real stuff, I've been, you know, scared.

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And that's the feeling I got from
Ophelia, like like it was real.

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It wasn't a movie. It wasn't
something where, oh, I know

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what's going to happen next. It
was like, get me out of here.

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I appreciate that. And a little
side note. I did a screening

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at a theater and invited about fifty
people. You know, some people who

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worked on it. In their family
is a little girl and her mom and

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dad and grandma and grandpa and on
unts and uncles and stuff. And then

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other people that I've worked with through
the years, you know, because I

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took seven years off just to write
screenplays, like I took some time off

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of filmmaking because I wanted to get
better as a storyteller, because I knew

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I was always going to care about
the picture and the audio. So I

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did a surround sound mix of Ophelia, which I'm proud of myself for learning

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how to do that. But as
the person who did the sound design for

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it, I was able to you
sit in complete circumference of what that house

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sounds like, all that atmospherical you
know, rumbling and those sounds and what

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have you are going on all around
you and giggles over here and creaking floorboards

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over here, and then somebody says
avery off to the front right, and

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you know, everybody when it got
done, that was the first time I

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ever felt really fulfilled because everybody sat
there in silence until the end of the

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credits, because you know, a
little girl singing creepily with reverb is always

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good to sit around. And then
they stood up and applauded, and that's

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I thought, like they got it. Because it was so important to me

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to have the audio really take and
immerse people in it, because if the

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audio's bad as a viewer, it
takes you out of the enjoyment. You

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can still follow the plot and this
and that, but I just I felt

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like Ophelia deserved that house, deserved
to be a character. And then the

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audio. I agree with you,
because the audio is what makes it more

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real. It makes you kind of
engaged with it, you know. And

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it's just like doing radio or a
podcast, Like there's people out there that

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have great content. If their audio
is terrible, I don't want to hear

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it, you know, It's like
it just it would not do it for

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me. And in the same way
movie, like, I'm one of those

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type of people that you know,
and people will say, how do you

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do that? Like I'll watch a
movie while I'm working, you know,

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at night, you know, and
or I'll watch a movie doing other things.

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It's the movie that gets me to
stop doing those other things and sit

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and literally get consumed by the movie. That's a good movie, and to

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me, that's what a feeling is. Well. I appreciate that. I

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think one of the one of the
one of the first thoughts after deciding to

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make a short version of one of
the features, was I don't want to

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start at the beginning, have a
little bit of the middle, have a

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little bit of this, have a
little bit of that. I want to

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take these characters and and let's let's
assume that this was the second to last

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group of paranormal investigators that went into
this house before the feature film. And

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I wanted to start at like the
eleventh hour, like I didn't want to.

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I didn't want to a slow burn. I didn't want to take eighteen

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minutes to finally get to one cool
thing at the end. I wanted to

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make it seem like everything's already gone
wrong, everything's already in a bad way,

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and this girl is about to,
you know, have a pretty bad

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eighteen minutes. Yeah. And you
know, it's funny because when I first

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looked at it, you know,
I didn't see the writing part about headphones,

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and I was just looking at it, and then I noticed where it

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said, you know, put headphones
on, And man, that was good

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instructions. People need to fall instructions
because that made all the difference in the

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world too, because the sound that
you're talking about and what you created,

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like it totally when you're putting the
headphones on, totally engulfs you and it's

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almost like you're there. That's how
I like to feel in all the movies

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that I've done. Is like you
are the extra character. Like I do

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a lot of handheld stuff. I'm
in with the people, and I wanted

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people to feel like they were in
the house too. Yeah, and that's

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the way it should be. Now, speaking of which, tell everybody how

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they can go to the website,
how they can check out Ophelia, how

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they can see not only the trailer, but the full you know, movie

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and anything you want that they would
connect to you, socials, all that

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good stuff. Yeah, So go
to opheliamovie dot com. You can watch

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the trailer and you can watch the
short film there. It's also shows,

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you know, some movie posters.
And we've entered a bunch of festivals,

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film festivals, and we're winning a
lot of them. We're honorable mentioned.

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We've got best special Effects, Makeup, Best Film, Best little Girl Actor,

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you know, different things like that. As you said, I recommend

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the best audio situation that you can
possibly do. Whether it's headphones, some

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people have their computers set up with
really nice speakers. If you've got a

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smart TV, you can just go
to YouTube. You can put in Ophelia

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short movie. It pops up,
Turn on your soundbar, turn on your

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sub wolfer. Because you're gonna feel
it and just enjoy it. I mean,

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you can go to Shadow Lake Films
on Instagram, you know, reach

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out to us there. We just
we just got that going. But the

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big thing here is just to share
this short with people, get some buzz,

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and we want to turn this into
finding the right people to make the

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films with. Well, I think
it is definitely the next best thing in

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horror because also too, like you
said, you know, you've gotten awards

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and people really love it at the
film festivals, and that says a lot

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because of any genre of moviesror horror
movies in those scenarios at those film festivals,

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there's a lot of competition, a
lot a lot of competition, So

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it says huge things that you or
even noticed, much less get awards in

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there. So that's a big reason
in and of itself for people to check

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out the movie for sure. Yeah, I appreciate that. Is there anything

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else you want to let the listeners
and the viewers know that we haven't covered

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already that they need to know about
Ophelia? No? I mean, I

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I like keeping a certain level of
horror movies alive. You know, it's

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not even just Halloween it's people like
to be scared, whether it's roller coasters.

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I like to do stuff that is
a little fantastic in the sense that

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you know, you can get lost
in it, not with not like mafia

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movies scare me, war movies scare
me. This is good fun to me.

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And I think all the independent filmmakers
out there, you know that are

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wondering if they should make a movie, just do it. I did it

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for no money, no idea what
I was doing, and eventually got a

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little bit better and a little bit
better, and it takes time, but

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just start, just do it nice. Well. I think that's great advice.

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I also think, you know,
since I do all like music festivals,

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especially like the Danny Wimmer festivals,
and just playing it out there,

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this would be a great idea.
Like they have comedy things sometimes it would

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be a great idea to have Ophelia
or any of your other works in a

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music festival environment like that too,
because it just goes hand in hand.

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So I'm just putting that out there
in the world. I completely my first

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movie. I recorded sixteen bands for
the soundtrack. A lot of the music

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made it into the movie. I
had a scene in the movie where there

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was a battle of the bands happening
in the movie, so you know,

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people could get exposure that way.
I sold copies of the CD. I'm

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a firm believer that music and sound
in movies matters. In horror movies,

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It's key there, you go,
absolutely one hundred percent. Well, I

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thank you for giving us this because
it is it's great creativity. I love

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it. I know all the listeners
will love it. And thanks for being

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on the Adventures of Pipmin. Yeah, I really appreciate. It's good to

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meet you. Thank you for listening
to the Adventures of Pipemin. I'm w

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for CUI Radio.