Emmy Winner James A. Castillo Unveils Goya-Inspired Horror Animation at Tribeca

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The acclaimed Spanish director James A. Castillo’s chilling new short film, titled “The Quinta’s Ghost,” is set to debut in the Official Selection at this year’s upcoming Tribeca Festival. We, EbMaster, have been granted exclusive privileges to share the film’s official trailer and poster, which can be found towards the end of this article.

Castillo is a seasoned animation professional from Hollywood, known for projects such as “Teenage Mutant Ninja Turtles: Mutant Mayhem” and “The Mitchells vs. the Machines”. He has impressed viewers with his Emmy-winning VR film “Madrid Noir”, and now he’s focusing on 19th-century Spanish artist Francisco de Goya and the eerie Black Paintings he created during his secluded time at La Quinta del Sordo towards the end of his life.

Employing tools typical of horror stories and cutting-edge real-time animation, Castillo breathes life into the specters of Goya’s past and the house’s voice, voiced by renowned actress Maribel Verdú, in a chilling, gothic manner. In collaboration with Julio A. Serrano (co-writer) and Pakoto Martinez (artist), this short film is the inaugural project of Castillo’s Martirio Films and was produced jointly with Illusorium Studios based in Madrid.

EbMaster had a conversation with Castillo about the emotional price tag of creating independent animations, the struggle to preserve Goya’s heritage, and how Spain could significantly shape the direction of future tales in mature animation.

This short took four years. Why so long, and what did you learn in that time?

I initiated the project’s creation during Christmas in 2021, and it wasn’t until after a year had passed that we had a completed script and fully developed pitch deck, complete with concept art, character designs, etc. After working on the project with just a few friends, I brought the project to Illusorium in early 2023, already halfway through the animatic production process. The following two years were spent actually producing the film. During this period, I also established my own company, Martirio Films, which required me to learn about applying for grants, handling sound, music, VFX, marketing, and much more. It was a challenging learning journey.

When you’re independent, the premiere is not the end goal; it’s the beginning. If I don’t dedicate the next year to promoting this film, it would feel like I’ve wasted the past four years of effort. I wouldn’t want to squander the work we’ve put in over the last four years.

Was the goal always to talk about Goya and Spanish culture, or did that evolve during development?

Initially, my project began as a deeply personal and contemplative endeavor, not intended to delve into Spanish identity or Goya. However, as I delved deeper into the subject matter, it became increasingly apparent that Goya was an ideal embodiment for this exploration. The dual nature of him – the historical figure and the individual – provided a rich cinematic landscape to address themes that resonate with me.

In the movie, you won’t hear anyone utter Francisco’s name. That was intentional. Instead, I chose to focus on the man, not the legend – Goya. The story revolves around an elderly individual, living secluded in a house, who expresses his torments through brutal images he paints on the walls. This portrayal felt raw and cinematically powerful.

What method did you use when converting his artwork into an animated form? These paintings are well-known. Did you find the task challenging or intimidating?

Absolutely, we gave it considerable attention. We delved deeply into his painting methods, exploring ways to incorporate them into our workflow, whether that meant texturing techniques, lighting strategies, color choices, and so forth. Ultimately, it was about faith: trusting in past choices, trusting my team, and trusting that Goya’s essence would remain, even without replicating each stroke. The ghostly figures in the film were brought to life using Quill in VR, which lent them a haunting dimensionality. We treated the house as if it were a character, altering its size, framing, and presence based on its interaction with Goya.

Initially, one of our main hurdles was finding a way to give the illusion that ghosts existed within the same physical realm as the artist, and it was real-time technology that provided the solution. Our intention wasn’t to be ostentatious; rather, we were tackling a creative conundrum.

You’ve worked with big studios, but this short was produced independently. What changed?

For an independent animation project such as this one, it’s not like being a cog in a studio film machine. Instead, it was more about collaborating with just a few individuals. The key to making indie animations thrive is having people genuinely enthusiastic about contributing. I couldn’t demand three years of dedication from anyone, but I could ask for brief, top-quality contributions as long as the direction was crystal clear and the workflow streamlined.

I assured them: if you invest your time, what you produce will be part of the final project. I won’t alter or rework your creation. This trust proved enticing to artists seeking opportunities to delve into a grittier, more artistic style, which they may not usually find in mainstream animation.

Is there a possibility that the focus of Spain’s animation industry, which is typically geared towards children’s content, may change in the future?

Indeed, there’s a strong desire prevalent, particularly within the artistic community, consisting of individuals who have long been overlooked or financially neglected. With their return from prestigious overseas studios or discovery of innovative resources, they are questioning, “Why wait? Why not us?” This phrase captures their newfound confidence and ambition to seize the moment.

Instead of adhering strictly to the U.S. approach, our unique advantage lies in public funding, which allows us greater flexibility when it comes to box office success. This freedom means we can take on more risks and produce works that stand out from the norm, like “The Quinta’s Ghost,” thereby distinguishing ourselves.

Is this a sustainable model? Could you do another short like this?

To be completely clear, I’m saying no. Honestly, it’s a hard pass. This project relies on emotional investment from individuals – their time, enthusiasm, and trust. Personally, I’ve put my own savings into it, which isn’t easily replicated or scaled for growth.

I’m eagerly hoping that this brief piece serves as an opening. It would be fantastic if it leads to grander, more daring projects, perhaps a full-length film, or even a mini-series. I am passionately committed to creating work that continues to challenge the norms and boundaries.

What does success look like for “The Quinta’s Ghost”?

Accessibility is crucial for me in my creative endeavors. My previous project, “Madrid Noir,” was a VR film, but its reach was limited due to the technology requirements. This time around, I aim to ensure that more people can experience the work. While accolades are valuable, the true victory lies in connecting with an audience and demonstrating the profound impact animation can have beyond mere entertainment. It can stir emotions, it can unsettle you, and that’s what I aspire to achieve.

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2025-06-07 15:17