There is a particular kind of story that only comes out of unemployment — the kind where you are applying for jobs with one tab open and watching hours of tabletop roleplaying content in another. That is where Total Party Kill began. Alan "Poe" Sanchez, a Latinx writer, director, and producer born and raised in San Bernardino, had been circling a horror comedy for years, looking for the right container. He found it at a game table: an all-female TTRPG group discovers a sinister demonic presence hidden inside one of their miniatures, and the fantasy adventure spirals into a battle for survival where the stakes are all too real.
Sanchez has been making short films since he was fourteen, learning his craft off VHS tapes, and his 2022 short WATCHER traveled to FilmQuest, Catalina, and Kevin Smith's Smodcastle Film Festival. Total Party Kill is the loosest and most unhinged thing he has made — Jumanji by way of Evil Dead, as he describes it — and its return to FilmQuest is less a premiere than a homecoming.
Key Takeaways
- The film's hardest cut was roughly three minutes of character beats, sacrificed to keep a short moving and leave audiences wanting more.
- Sanchez's producing partnership with Christine Celozzi and Fayna Sanchez — both met at FilmQuest — ended years of producing solo and barely surviving it.
- A feature-length expansion is already in draft, with Sanchez aiming to direct it before he turns forty next year.
Sanchez spoke with us about balancing game mechanics with accessibility, the kill scene that only he could have made, and why taking the leap is independent film's real superpower.
Interview
What drew you to make this film, and why this story, why now?
The idea came from a very vital time that I believe comes with every artist's life — UNEMPLOYMENT. I was applying for jobs a couple of years ago and in the background I was watching a lot of TTRPG content. One day it suddenly clicked that there is something in a story of people sitting at a table playing a game. I had been wanting to do a horror comedy for the longest, as I feel that is more in line with my personality after working on so many darker stories prior. I molded the two ideas together and Total Party Kill was born.
I think this story harkens back to the simpler times of just a concept being a hook. I really wanted to keep it simple and give audiences a thrill ride where they can turn their brains off and just have fun. Mixing that with tabletop gaming making a comeback, I think it's a perfect time to bring this original idea to audiences who want that.
What surprised you most about the filmmaking process, creatively or logistically?
The thing that surprised me most was making sure the audiences and the actors understood what was happening in the story. TTRPGs can be very extensive in explaining rules, so we had to strike the right balance of keeping true to the real experience while also keeping it accessible to non-players. In the edit bay we tried to keep the story snappy and fast so audiences can stay engaged with the game. Striking that balance was very interesting to crack.
What moment in the film feels most like you, or like something only you could have made?
There is a very big kill scene that I feel is my own flavor. It's unhinged, chaotic, and very hilarious in a dark humor type of way. I feel like I mashed all my influences in there, from the camera work of Sam Raimi to the Wes Craven psychological aspect. That scene was me trying to pave my own road while also honoring where I came from.
What was the hardest creative decision you made while making the film?
There was A LOT more character moments and beats in the original cut and script. We ended up cutting about three minutes of footage to keep the story going. The original cut was great, but this is a short film and I feel shorts just need to go, go, go. The decision was made to not overstay our welcome and make audiences come out wanting more. Those beats would have been great if it was a feature, but for a short, I think it was a sacrifice needed to keep the story going.
What tool, technique, resource, collaborator, or mindset shift helped most during production?
Working with my producers Christine and Fayna was one of the most satisfying experiences I've ever had in a production. Previously, I mostly produced my stuff solo and always came out barely making it out alive. Getting to work and collaborate with those two after adoring their work for years and being friends was something that was really rad to do. They made this production run so smooth and gave me brutal honesty when I needed it. They became collaborators I look forward to working with again.
What is the greatest strength of independent filmmaking, and how did you lean into it here?
The greatest strength of filmmaking is embracing taking the leap. Every single aspect of our production was about not being afraid of taking the leap and seeing what happens. From casting people I never thought I'd work with, like Elyse and Sarah, to thinking outside the box on production solutions. I think that's what's beautiful with indie films — we always find our way to the goalposts, even if it can be scary at times.
This film made me embrace being more unhinged and break more rules. Yes, there are traditional story structures, but I realized it's more fun to branch off into the more left-field routes like Total Party Kill did. I think that's where the fun thinking is, instead of playing it safe.
What does it mean to have your film selected for FilmQuest, and where does it go next?
Without FilmQuest, there would not be a Total Party Kill. This festival was where all the seeds were laid. I met Christine and Fayna there, and to be selected was the biggest badge of honor as someone who started attending this fest five years ago with just a screenplay. This film fest really embraces community and gave me the opportunity to meet and work with people who are some of my best friends. It means a lot to be selected there, as it feels like a homecoming after pulling off the impossible by making a film.
There have been A LOT of calls for this to be a feature. From fest goers to film reviews, that is one note we keep hearing. We intend to fulfill that wish and are currently working on the script to expand our bonkers little story to a feature length. The rough draft is done and is now being touched up to an official first draft. I have a goal of making my first feature before 40, and I turn 40 next year. We are DEFINITELY aiming to hit that goal.
I simply hope audiences take away one word when they walk out — FUN. I want them to exit feeling like they laughed, screamed, and cheered with fellow filmgoers. I want them to feel like they had a communal experience, because that's what I believe the theatrical should be.
Main Cast & Crew
- Cast: Elyse Willems, Gracie Lacey, Fayna Sanchez, Sarah Nicklin, Christine Celozzi, Soren McVay
- Directed by Alan Sanchez
- Written by Alan Sanchez and Michael Smallwood
- Produced by Alan Sanchez, Christine Celozzi, and Fayna Sanchez
- Total Party Kill
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