Filmmaker of the Week – Bernardo Goya

Episode 51 of Filmmaker of the Week featuring Bernardo Goya!

Give us a brief introduction of yourself, where you’re from originally and where you are now if different

I am Bernardo Goya. Born and raised in Jacksonville, Florida. Technically born in Orange Park, but I have been living on the Duval/Clay county line for awhile that it kinda blurs into one area.

What is it that first got you into the world of filmmaking?

In grade school, I got really into writing lists and stories. I use to had a whole list of films to watch when I was in the 5th grade, and I had memories of hanging around my Grandpa’s house watching movies. At that time, I would borrow movies from the library and my grandpa’s movie collection. He had a big collection of DVDs and Records. His house was almost like a weird little thrift shop, and my grandpa sometimes would either watch movies or tell the weirdest stories. It was a good place to get inspiration. In the 4th grade, I found a love for writing stories, because usually during the writing assignments they would give you allot of freedom to write a paragraph about anything, which is I guess to practice your writing skills or creativity. I liked the audience reactions, and the performance aspect of the whole thing. Going from grade school into high school, reading something you wrote or doing a presentation were fun to me. I would always look forward to those types of assignments. In fact one of my first films was my 7th grade assignment. It was called Anne Frank’s Home Alone, and it was about a guy being transported by the Magic Man back in time to show Anne Frank the movie Home Alone in order to stop the Nazis from taking her away. It was some what ambitious, but I did it all in a room with my classmates. The process was a really weird one, because I shot it on my brother’s tablet and downloaded a free sketchy looking editing software. I had difficulty transferring it to an mp4 file, so what I did was took my parents Samsung point and shoot and just filmed the whole short from there. The film is lost now, but in the the 10th grade I tried to take filming making more seriously and used that Samsung Point and shot as my go-to camera. 

Share a little bit about your specialty in the film world

I honestly am still trying to figure that out. I’m guessing writing and editing are my strong suits. Though I don’t have a script script, but I can think of pretty cool concepts for like shorts and stuff. My brother says I’m photogenic and can spice up a film with my performance. We shall see what the cards have for me. 

What has been your most challenging project to date?

Wedding videos, because normally I do avant- grade shorts and funny skits/pranks, which aren’t really polished in anyway. What is difficult about this is that I am still a beginning filmmaker trying to find a certain groove. Those types of projects are challenging, because I am out of my comfort zone. I can handle absurdity, because it’s controlled by me most of the time. However, if my style has to evolve into its highest peak, I have to be willing to go out of my comfort zone.

I have only done two, and I have learned a lot about planning, editing, and cinematography. Hopefully, I will do more, and improve. 

Tell us a bit about your latest project.

Zip my lip.

I plan great things, but I don’t wanna spoil the surprise.

However, I will tell you about THE EROS PROJECT, which is a double-feature extravaganza that I premiered at my local theater, Sun-Ray.

 https://youtu.be/GsQnUH2KPyg  

This is the link to a video my brother did that cover the premiere. To summarize it, it was an event. THE EROS PROJECT consisted of two short films and two feature films with an overture (which is basically a creepy Garfield meme with a combination of different tracks being projected on the screen while Felix Macaca [the monkey man] and I beat up a dummy) and intermissions (which are basically just Stan Brakage’s shorts). The first part were two shorts from this film challenge I did back in October or November of 2021. It was called the world builder challenge, where the projects would have to be focused on an element of mythology or folklore. There was only two films submitted which were Musas Vengenace by Brooks Brandal and my film which was Garden of Eden. The one who organized the whole was Joe Mora, who I got to thank (along with mr. Brandal) for letting the shorts be in THE EROS PRJECT. Although it was only four of my team and two homeless guys in attendance, it now a part of an interesting cinematic experience. The second part is THE SPOOKY SPECIAL, which is a pure montage movie. Taken from my frequent collaborator and friend (MANOLO VLOGS)’s videos, my brother (FRESH LAD COLLECTIVE)’s videos, some outtakes, and some other archival stuff (including Sammy Davis Jr earliest tap dancing bits and the neff house sphere interview). THE SPOOKY SPECIAL follows the same storylines in both MANOLO’s possession series, where my character gets possessed and we have to get him from the neff house; along with FRESH LAD’s amazing Spider-Man series, where Spider-Man enters the multiverse. We filmed at a famous abandoned house in Jacksonville, and also in Ikea. This film features the voice talents of AUSTIN KELLY and an electric performance from KING LEE aka DAT BOI LEE. KING LEE was also featured in the last part of the project known as Sweet Temptation. A film that had 11-pages consisting of my brother, the lead in the film, going into the sex shop and buying a dildo on his 18th birthday. Its not porn, but deals with that theme of addiction to porn (I think). It’s a montage movie, where my brother fights people and takes a longs walk.

I wrote it when I was 20 and completed it when I was 21. KING LEE in here plays a preacher, and he gives real energy to the picture. Along with my buddy, HANSI, who looks great as one of the goons.

The future of THE EROS PROJECT is a mystery. You might see it in a random pawn shop, hipster movie store, thrift shop, convention, or even the flea market. That’s because I intend on distributing it like how rappers on the street distribute their mixtapes.

What is one moment you’ve had in any part of the filmmaking process where you learned a really valuable lesson?

I usually learn it in post production/ Distribution phase. I show my films to my parents and friends or (if I am lucky) an audience, and I see their honest opinion about what I made. I am usually just laser focused on getting to the end, and I tend to have a bias towards it (normally because I am tried and want to move on). Second opinions are good. Sweet Temptation had like two cuts before the final version, because I showed it to my brother and a friend and I felt it was really slow (the original being two hours long with unedited footage of my brother walking). It wasn’t the only problem with the movie, but that second opinion saved the movie and I can honestly say I’m proud of it. 

What are some of the 5-year goals for you as a filmmaker/creative?

I normally do not wanna tell the next move, but all I know is the following;

I want to hit certain goals (or eras) in my filmmaking career, I want to expand my palette from experimental/rougher type films to sexy slick films (like romance or Christian), and I want to hopefully hit everything on my personal goals list.

This year I’m manifesting dvd distribution (perfecting that so I can link up with filmmakers, make criterion/arrow style dvds and blu-rays) and a ton of content that can fill a book or boxset.

If you could work with one idol of yours, who would it be?

As a Catholic, the only idol I should have is Jesus…..no, but seriously it surprisingly tough to pick because of the wording of the question. I got multiple people, who I think they are legends, I have to choose one. I’ll answer the question with four no commas; ROBSCHINDERKATHNEILVICTORIAJUSTICE. That might be cheating. 

My final answer is ROB SCHNEIDER, because Deuce Bigalow was there when I almost quit filmmaking. I SHALL MANIFEST THAT FUTURE, ITS OUT IN THE PUBLIC. 

Name three films that have inspired you most in your journey.

GUMMO (1997), It was a spiritual experience watching this in the theater, and it introduced me to one of my major influences HARMONY KORINE. This film changed my life, and inspired me to make my first film. It was funny and bold. 

THE BLUES BROTHERS (1980), Dope soundtrack and dope acting. Although it’s two hours long, it feels shorter because it has a strong positive energy. I’ve watched this film since middle school. This movie along with Desperado and Reservoir Dogs was the film that showed me the beauty of American movies. 

EYES WIDE SHUT (1999), I have many memories of this movie, and it’s the film me and MANOLO VLOGS talked about when we reunited. This is a film that is gorgeous and has an air of mystery to it. Honestly, one of Kubrick best, and though he died beforehand (meaning it’s not definitive Kubrick film) it was perfect as a film should be. 

Where can folks find out more about you online?

https://youtube.com/channel/UCBcwJcIEH_qNzDLyGR8Z0Qw

Any last thoughts or pieces of advice to filmmakers out there?

There is allot and nothing to say, but these are my thoughts. 

Filmmaking is like cooking, the director and the chef are bringing in different flavors and elements to a dish to simulate the sense. Also I learned about budgeting from life and one of my movies, you can make pretty much any movie with any price it’s just are you willing to be smart with your money or are you gonna spend it Willy nilly? Smaller crews are also easier to work with, you don’t need like a cult of people on set. Sometimes (for me) 3-5 people works fine. I use to alter serve and attend services, and usually the leader/director/Preist would have 2-3 members on a team and it’s just the energy each member is contributing. Also if you are starting out, try making wild/experimental films. You can learn how to fight if you got hard in the paint. I know for a fact that at this point in my life, I don’t really need film school (not knocking on anyone who attends).However, I learned more about team work and coordination and organization from working as an alter boy and attending funerals and weddings. If you are a film student, get a normal job that has little to do with media (I.e. movie theaters, film sets, dvd stores, etc etc). Work at a hospital or a nursing home or a daycare or in a hotel or go into the military. If you are unwilling to take the time to read a book, those jobs are a nice substitute. Royal Ocean said it best, which is the things you experience/consume will reflect back into your filmmaking. ENERGY ENERGY ENERGY, young filmmakers should display more of their youthful energy in their movies. That’s pretty much it. I’m learning as I go along so I hope there is some value that’s being put out with what I said. 

For more reviews and content stick with To Tony Productions and don’t forget to subscribe to our blog to stay up to date!