The Enchanting Fusion: Weston Razooli's Journey of Adventure with Off-Road Biking & Colorful Combat

The Big Picture

Weston Razooli's "neo-fairy tale," Riddle of Fire, was a major standout at Fantastic Fest 2023.

The movie tracks the adventures of four playful children as they embark on a mission to collect ingredients for a delicious blueberry pie. Throughout their journey, they face challenges from witches, huntsmen, and trolls.

During Fantastic Fest, Razooli shared insights into his experience directing his debut film, collaborating with a talented young cast, and capturing it all on 16mm film.

Weston Razooli's debut film, Riddle of Fire, received rave reviews at this year's Fantastic Fest as a captivating "neo-fairy tale" adventure. Filled with unearthed treasure, battles with corpses, and unimaginable horrors, the film stood out for its whimsical and child-friendly storytelling, beautifully captured on 16mm film.

Razooli had a clear vision for Riddle of Fire, drawing inspiration from the charm and mischief of classic films like The Little Rascals from the 1920s and the mischievous children of the 90s. Set in the picturesque Wyoming mountains, the story follows brothers Hazel (Charlie Stover) and Jodie A'Dale (Skyler Peters) as they embark on a treacherous journey to retrieve their mother's favorite blueberry pie. With the help of their friend Alice (Phoebe Farro), they encounter a witch, a huntsman, a troll, and even befriend a fairy named Lorelei Olivia Mote.

The film also features performances by Lio Tipton, Charles Halford, Austin Archer, and more. With its rich imagery, paintball shenanigans, and clever dialogue, Riddle of Fire has garnered attention from Vinegar Syndrome and Yellow Veil Pictures, who have plans for a limited theatrical release in 2024.

Riddle of Fire made its way through the festival circuit, starting with its premiere at Cannes, followed by TIFF, and finally landing in Austin at Fantastic Fest. Razooli visited Our website’s interview studio to discuss his remarkable journey in bringing this independent adventure to life. He delves into the challenges and perseverance required to secure funding, offers valuable insights on managing a cast of children, explains the creative decision to shoot on 16mm, and much more. Watch the video above for the complete interview, or read the full transcript below.

Image via Anaxia

Can you give a brief synopsis of your movie for those who may not be familiar with it? "Riddle of Fire" is a neo-fairy tale that combines action, adventure, and comedy. Set in Wyoming, it follows four mischievous children who ride dirt bikes and wield paintball guns, causing chaos in their town. Similar to goblins, they embark on a quest to collect ingredients for a blueberry pie to help their sick mother. Think of it as a modern twist on classic tales like Hansel and Gretel and Little Red Riding Hood, but with motorcycles and paintball guns.

I was thinking that this was a hard film to synopsize and actually give people the feeling of what it was, but I feel like that did a pretty good job.

RAZOOLI: Thank you. [Laughs]

I left the movie and immediately felt an urge to purchase a paintball gun.

RAZOOLI: Is that right? Well, that's exactly what I intended. My aim is to maximize satisfaction in every aspect. Witnessing the guns being loaded, riding the dirt bikes, and smashing ceramic gnomes, all contribute to that sense of fulfillment.

You sense it. It emanates not only from the cinematography, but also from the sound design. There is an indescribable quality to the sound of firing a paintball gun that makes you believe that what they hold is in your grasp too. This intense connection enticed me to step out and engage in all that they were doing.

RAZOOLI: That's truly fascinating. I'm delighted that you perceived that.

Starting from scratch, your feature directorial debut is a significant milestone that deserves recognition. Reflecting on your journey, what was your initial perception of the first crucial step to attain approval back then? And now that you have accomplished it, would you suggest that same step to aspiring filmmakers who aspire to create their inaugural feature?

RAZOOLI: The term "green light" doesn't quite fit the bill for me or this particular film. It's the epitome of indie; I went through the arduous process of raising all the funds on my own and piecing everything together. This is the purest form of indie filmmaking.

When it comes to self-funding a movie, what was the initial breakthrough or moment that made you realize, "This is more than just a fanciful idea concocted in my mind, but a tangible reality?"

RAZOOLI: I was promised significant funding by influential individuals associated with certain film festivals, on the condition that I secured 80% of the required amount. Initially, it was quite thrilling, but complications arose later on. The process was quite challenging and required immense effort and perseverance. Ultimately, we managed to shoot the film with only half of the intended budget. The real enjoyment and ease only came when the film was accepted and scheduled for screenings.

[Laughs] It wasn't until we completed the film and knew it would be showcased to an audience that the anticipation and satisfaction set in. Regardless of whether it's your first feature or not, I believe this narrative is a common occurrence in every film you undertake.

RAZOOLI: I don't agree. I believe the next one will be easier since we have secured some funding already.

I appreciate that! It's always great to start off strong and achieve success, and it feels deserved to have some level of ease.

RAZOOLI: Thank goodness. Yes, it's great.

Having directed a few shorts and music videos prior to this feature, were there any aspects from those experiences that proved beneficial here? Additionally, were there any challenges or lessons that you encountered while making your first feature?

RAZOOLI: Shooting on film has its own unique challenges and learning opportunities. While it may seem intimidating to some, I would actually encourage them to give it a try if it aligns with the vision they have for their story. It allows for a different aesthetic and can add depth and character to the visuals. It may require a bit more planning and technical knowledge, but the end result can be truly rewarding.

RAZOOLI: Yes, I would definitely recommend it. The use of film brings a heightened focus to everyone involved because of the unique and limited nature of this medium. It pushes everyone to bring their best performance, making each shot and every aspect of the production vital. Personally, shooting on film perfectly aligns with the stylized fairy tale theme of my movie "Riddle of Fire." It allows me to confidently capture the desired atmosphere and fully immerse the audience in this enchanting world. While the choice of medium may differ based on the genre, for this particular film, using film truly enhances the overall experience. From the audience's perspective, it felt absolutely right. I'm grateful that you took this route.

I recently learned that most of your scripts revolve around children or teenagers. This leads me to believe that you were greatly influenced by certain movies in this genre while growing up. Can you tell me which movie you absolutely adored and wanted to replicate because it captured that youthful experience? Additionally, what element do you believe was lacking in those movies that you made sure to include in your own work?

RAZOOLI: That's an excellent question. Growing up, I was a big fan of The Little Rascals and the original show, Our Gang, from the 1920s. There's something undeniably endearing about watching witty kids outsmart or play pranks on adults. I adored all of that, but I wanted to give my characters the resourcefulness and cleverness of Macaulay Culkin's character in Home Alone. I wanted them to be experts in their own right, but also possess a gritty determination. This fusion ultimately shaped Riddle of Fire.

Image via Anaxia

Regarding the cast, the success of this movie is highly dependent on finding the right children for the main roles, and these young actors truly stand out. Did you notice any common attribute among the four of them that reassured you they were prepared to embrace this opportunity?

RAZOOLI: Yes, the kids all possessed a shared quality - a timeless essence that could have easily fit into different eras such as the 1920s or 1930s Little Rascals shorts, or even the 1970s, 80s, or 90s Disney live-action movies. Because of this shared quality, I believed that they would get along well and be capable of pulling it off - which they did.

Going back to the cast, you mentioned the timeless quality. What I found fascinating about your movie is that it possesses this timeless aura where the story could unfold in any era. However, you also incorporated cell phones and the ability to conduct on-the-spot research. Was it always your intention to include these elements, or did you ever contemplate removing them?

RAZOOLI: Yes, I rewrote it for a few reasons. Firstly, I wanted to maintain a sense of optimism that genuine fairy tale adventures are still possible even in today's world, with the right individuals taking part. Secondly, it was a practical decision. Given our limited budget, setting the story in the present time helped us avoid any complications related to specific historical periods.

It effectively achieves its purpose. I value the idea of ensuring that this kind of adventurous tale continues to feel attainable in the present, as it seems we are increasingly moving away from it being a feasible reality at the moment.

RAZOOLI: Yeah, I suppose. However, it's a common occurrence. I come from Utah where numerous small towns exist, and it's not uncommon to witness young children engaging in activities like using bows and arrows.

Whenever I envision my niece and nephew, I can only visualize them sitting with an iPad constantly in front of them.

RAZOOLI: It’s so sad! It scares me. it scares me so much!

If they wind up getting creative with the devices, maybe I'll feel really good about that, but yeah, it's not the same anymore.

To further highlight your four leads, could you share something about each of them that made them exceptional actors and perhaps required something different from you as a director?

RAZOOLI: Skyler Peters, who portrays Jodie, surprised me with his level of difficulty to understand when I initially cast him. On the first day of filming, I was uncertain how to address this challenge, until I decided to include subtitles. This not only solved the issue but also added a comedic element, particularly because Jodie is the most articulate member of the group. Additionally, Skyler was eager to contribute more lines and would consult with me or his mother regarding any new additions. For instance, in the scene where the other kids want to abandon the crab legs with the villains, he wanted to say, "I'm not leaving without these babies!" I enthusiastically approved his suggestion.

Hazel and Charlie Stover exuded the essence of quintessential American children, reminiscent of iconic characters like Tom Sawyer and Huckleberry Finn. They easily blended into the story. Phoebe Ferro, who played Alice, possessed a captivating energy that mirrored the angst of Tatum O'Neal in Paper Moon or the girl from Zazie dans le Métro. These influences shaped her character. Lorelei Olivia Mote, portraying Petal, delivered a hilarious audition tape where she whimsically hopped around chairs, embodying a mischievous fairy. Her performance was both humorous and charming. All three of them were exceptional. They were the only children who received callbacks, leaving me thinking, "Maybe they are the ones." It's truly remarkable how they bring something special to this project.

The subtitling issue for Jodie was brought up, and it was mentioned that there were several other problems during the editing process that needed to be addressed. Can you please share a few of these issues and explain how you managed to work around them?

RAZOOLI: Editing this film was incredibly challenging as there were no clean takes. It became a bit like playing a game of Tetris, figuring out which shots could be cut together. For example, a wide shot could be paired with a two-shot, leading into a close-up. However, it was difficult to transition back to the wide shot if the characters were facing the opposite direction as it would disrupt the continuity. Each scene took at least a few weeks to edit, and there was even one scene that took me an entire month to complete.

RAZOOLI: It's the scene where they illegally start the car without its key. It's a fairly lengthy scene. It was actually the last scene we filmed, on the final day of shooting. Everyone was exhausted, especially the kids. It was quite chaotic, which made the editing process incredibly time-consuming.

The edit feels incredibly smooth and organic to me, which is incredibly impressive. And when you mentioned the issue of subtitling Jodie, it seems like the perfect example of something that didn't go according to plan but ended up adding unexpected magic that enhanced the film's strength.

RAZOOLI: Yeah, that's just the nature of filmmaking. Especially when shooting a feature, you have to adapt and find solutions. The original plan for the opening heist was to rob a delivery truck that was carrying the Otomo boxes, with the delivery driver moving them. However, due to a thunderstorm, we couldn't shoot that scene. So we decided to use this amazing warehouse instead, turning it into a massive heist. Surprisingly, it turned out to be even cooler and better than originally envisioned.

The use of certain techniques in the movie gives it a cooler appearance, similar to big-budget spy films. I really appreciate this quality.

I came across some information about the point system you had for the kids. I'm curious to know which actors earned the highest number of points and who received the fewest points.

RAZOOLI: [Laughs] Yeah, Jodie didn't really care about losing. But Charlie Stover, Hazel, he was a winner. He consistently got the most points. He was really into it. The point system was helpful in keeping them focused after each scene. When I called cut, they would all scatter to look at the camera or other distractions. So the one who reset the quickest would earn a point. At the end of the day, they would receive a prize, usually a prop from that day's shoot.

When I watch a movie like this, with such remarkable performances from children, it reminds me of film school where they always advised against making movies with kids or animals. However, after successfully directing a group of very young actors, my advice to another filmmaker who is hesitant due to such warnings would be?

RAZOOLI: I recommend creating a light-hearted and action-packed piece of content that would appeal to children. In my opinion, it is easier to direct a comedic movie with fun action sequences rather than a serious drama, especially when dealing with kids. It would be quite challenging to handle the latter.

It appears that they are really enjoying their promotional activities. The photos from Cannes, particularly the group shots, are much more thrilling compared to the usual ones we receive.

RAZOOLI: Absolutely. It was an absolutely amazing experience for all of us. It was the first time for everyone, including the festival and the film, at Cannes. The level of excitement and happiness was through the roof, and everyone had an incredibly fun time.

Now, onto an important question. Since you mentioned that you are already working on your next feature - and I find it fascinating because I strongly believe that self-appreciation is essential in this industry - could you identify a specific achievement from this movie that makes you say, "Wow, I'm really proud I accomplished that"? It would give you the confidence and motivation for your upcoming film.

RAZOOLI: I take immense pride in this movie despite the limited resources at my disposal. It was created on a minuscule budget and within a limited timeframe for shooting. Additionally, dealing with child actors and adhering to SAG regulations meant we had only six hours of productive work per day, despite the allowance of eight hours. Considering the success this movie has achieved, it feels almost miraculous. Yes, I am truly proud of it.

And you should be proud indeed. In a world where most films believe that they require substantial financial backing to bring their creative vision to life, could you share an example of a technique or approach that you employed with minimal resources, which other productions could benefit from considering?

RAZOOLI: In the movie, we needed an elk head for the prince of the mountain. At first, we considered using a CGI elk, but that wasn't feasible. Instead, we opted for a taxidermied elk head that I operated as a puppet. It may seem amusing, but it perfectly complements the overall look of the film.

Image via Anaxia

Have you witnessed any remarkable moments from other filmmakers during your film festival experiences that have left you inspired?

RAZOOLI: Honestly, I must admit that I haven't had the opportunity to watch many movies. However, at Cannes, I did catch a glimpse of Maïwenn’s film, Jeanne du Barry, starring Johnny Depp, which was visually stunning. It ignited a strong desire within me to produce a Victorian period piece.

What about any people you've met along the way?

RAZOOLI: I met [Pedro] Almodóvar.

RAZOOLI: Meeting Jim Jarmusch on the red carpet was amazing. But meeting Almodóvar was even better - he's not only my hero, but also my favorite living film director. Surprisingly, he even remembered my name later. [Laughs] I was ecstatic when I showed him my Cahiers du Cinéma cover. It was an unforgettable experience.