David Del Rio: 5 Things I Wish Someone Told Me When I First Became A Filmmaker
Diversity is a part of what makes our stories real, because it exists. So put life into the screen, because diversity is our life, whether you like it or not. And if you don’t like it, you’re no friend of mine. Secondly, representation shows a light of no matter where you are from or what your heritage or culture or traditions are, it shows us the most important lesson of all, which is we are all human and all of God’s children. Which makes us the same in one way or another. Diversity opens the flood gates of acceptance. Once we accept our brothers and sisters, then the world would be a better place.
As a part of our series called “5 Things I Wish Someone Told Me When I First Became A Filmmaker”, I had the distinct pleasure of interviewing Actor, Director, Writer and Producer David Del Rio.
David Del Rio is an Hispanic-American Actor, Director, Producer, and Writer. David has appeared and developed several well-known film, television and theatre productions. He first came into the industry scene playing the part of Felix Garcia on Nickelodeon’s The Troop. In between seasons, Del Rio made his Broadway debut in Lin Manuel Miranda’s hit musical In The Heights. Del Rio continued his acting career in hit films such as Universal’s Pitch Perfect, Blumhouse’s The Belko Experiment, and Netflix’s A California Christmas, with a sequel slated to shoot in 2021. David has also starred in critically acclaimed television events such as Fox’s Grease Live!, Netflix’s The Baker and The Beauty and will be seen in ABC’s Maggie, slated to premiere 2022. Director of feature films Sick for Toys and the newly released Road Head, out now on VOD, he’s also the Co-Founder of production company Theatre Row Productions along with his producing partner and wife, Katherine Del Rio.
Thank you so much for joining us in this interview series! Our readers would love to get to know you a bit better. Can you tell us a bit of the ‘backstory’ of how you grew up?
Thanks for having me, I appreciate it. Well, I was born and raised in Miami, Fl. I grew up (still growing up) with a really loving, tight-knit, and hilarious family on both my mom and dad’s side. My parents are and were the most supportive in all of their kids’ ventures. So when they got a clue that their middle kid loved banging himself into doors or shaking his butt to get a laugh, they knew they had to get me into theatre and I’m glad they did. My parents truly honed in and worked with me in getting into classes and study acting and filmmaking throughout my life. Miami is a place, surprisingly enough, where acting and filmmaking training was available. So I went to an arts high school, New World School of the Arts, where they invited students to not only act in plays but direct and write them, so the training was amazing. My childhood was mostly being obsessed with films and sleepovers with my cousins and friends, where we’d figure out a way to find trouble in our neighborhoods by playing Cops and Robbers and hiding under people’s cars and such. Then, from time to time, we’d make movies in the VHS camera that my parents passed down to me. Got the directing bug there.
Can you share a story with us about what brought you to this specific career path?
Well, I started just wanting to make people laugh but it wasn’t until I was in the 8th grade where my teacher asked me to study and dive into research on Elvis Presley for my role and I was just hooked. The investigation and the imitation of being someone else was a path I wanted to go towards. Then the directing and writing came in only so I can act in front of the camera and my family was just having fun and glad to be a part of it. Now, I’ve grown wiser to cast other actors to be in front of my camera and certainly grateful for all the producers and directors that still hire me as an actor today.
Can you share the funniest or most interesting story that occurred to you in the course of your filmmaking career?
It’d have to be this last feature that I produced called The Big Feed. It was a real tight budget and we had a Uhaul truck storing all of our equipment. All of our equipment. All. Of. Our. Equipment. Being the smart producer that I was, I parked at a spot that I would check back with it the following morning. When I did… the Uhaul was gone. All. Of. Our. Equipment. Was in that Uhaul. I’m only saying this as a funny story now, but I don’t remember the last time I lost my cool in that way back then. To me, the production was shut down and over. However, I didn’t waste any time to file a report of our stolen Uhaul. I contacted all of our team and told them they had the next two days off. That day, however, got a call from a detective saying they found the truck at an underpass with all the equipment still in there. By the grace of God, we got the truck back and went right back into shooting where we had even more hurdles but that one was the most interesting in recent memory.
Who are some of the most interesting people you have interacted with? What was that like? Do you have any stories?
I’d have to say, in my filmmaking career and not the acting part, I was enthralled and enamored by the team that was the de Leon team. Petra Vasvari de León and Edward de León are my production designers on Road Head and I was so impressed with how they bring life and the beauty of life into their design. They have this air of magic that you just gotta be in their presence to know what I’m talking about. They are true artists and Edward wrote a beautiful poem that he shared with cast and crew on the last day of principal photography “ … there’s only one Road Head, the road ahead.” I mean, they are walking poets hungry to constantly make pictures on screen. I’ll bring them on any project I have the chance to produce or direct as well.
None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful towards who helped get you to where you are? Can you share a story about that?
As a director, I will be eternally grateful to Jon Paul Burkhart and David Gunning. I was introduced to them by an old friend to direct a short for them and the rest is history. For a first time director at the time, you don’t get offer only jobs. Usually it’s coming from your own dime and hustle but they have given me my first two features. I’m grateful for their trust and they’re great bosses to work for.
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?
One comes to mind and that’s from Jay Kogen, a legend in television writing and showrunning and still killing the game. I remember sitting in video village with him and he turns to me and says “That forty-seven second take you just did, that just cost thirty four thousand dollars. So make sure you’re bringing in your part of the job.” That was probably a huge lesson for me in terms coming onto set, whether as a director or an actor, to be a prepared employee more than a talent because it goes way beyond you in a single frame. The wardrobe, set, camera equipment, writing, producing, craft service, all departments are reflected on a single frame. You sort of forget that as an audience member, however as an employee, you know that in every take there is money attached to that, so you don’t want to be the problem or reason why something doesn’t work. Whether its your ego or a technicality. Just don’t be the problem.
I am very interested in diversity in the entertainment industry. Can you share three reasons with our readers about why you think it’s important to have diversity represented in film and television? How can that potentially affect our culture?
Diversity is a part of what makes our stories real, because it exists. So put life into the screen, because diversity is our life, whether you like it or not. And if you don’t like it, you’re no friend of mine. Secondly, representation shows a light of no matter where you are from or what your heritage or culture or traditions are, it shows us the most important lesson of all, which is we are all human and all of God’s children. Which makes us the same in one way or another. Diversity opens the flood gates of acceptance. Once we accept our brothers and sisters, then the world would be a better place.
What are some of the most interesting or exciting projects you are working on now?
I mentioned The Big Feed before, currently in post and slated to release this year. The film stars my wife, Katherine Del Rio, very talented Ivana Rojas, and Manolo Gonzalez Vergara. Also make sure to look out for a show for ABC called Maggie, slated to release in the Spring/2022. On the directing front, still on the hunt for the next inspiration.
Which aspect of your work makes you most proud? Can you explain or give a story?
The learning part. Cause I’m always learning of how to get better and the crew and cast I have around me, the community of artists and storytellers, teach me how I can be better. So I love vibing ideas out with people from different walks of life and all have the same mission, which is to tell the story to the best of our ability.
Ok super. Here is the main question of our interview. What are your “5 things I wish someone told me when I first started” and why. Please share a story or example for each.
Geez, we just got to the main question?! You want five and a story for each?! I’ll do what I can. One is to be more technically savvy so I may contribute more than telling my DP “this is how I want it to feel.” Then have them work in getting my vision met. I want to be able to contribute to problem solving in that way. Second thing, I wish someone told me how to better fight my urge to eating all the delicious snacks that sit invitingly at the crafty table, that’s always a struggle. Third, I guess to not feel the pressure that every idea has to be yours. The “Directed by” credit comes from all the decisions you’ve made based on the ideas presented to you, not the fact that you only came up with all the ideas. You sort of open yourself to more possibilities that way. You know, you hire the people around to be on their A game and show you what they can do and you direct them and adjust. Okay, that’s about it.
When you create a film, which stakeholders have the greatest impact on the artistic and cinematic choices you make? Is it the viewers, the critics, the financiers, or your own personal artistic vision? Can you share a story with us or give an example about what you mean?
Great question. I always consider myself an audience member first and I promote that heavily between cast and crew members. “What’s the movie we want to see? What’s never been done before?” You continue to ask yourself those questions, really interesting answers arise.
You are a person of great influence. If you could start a movement that would bring the most amount of good to the most amount of people, what would that be? You never know what your idea can trigger. :-)
I don’t think I’m of great influence but any type of movement that exists today that calls for social, racial, or humanitarian justice I encourage everyone to get involved and join. I believe that there is a right side of history, so be a part of that.
We are very blessed that some of the biggest names in Business, VC funding, Sports, and Entertainment read this column. Is there a person in the world, or in the US whom you would love to have a private breakfast or lunch with, and why? He or she might see this. :-)
Incredibly grateful for my personal heroes that I get to have discussions with today. Steve Pearlman, Jay Karas, Jeff Morrone, Adam Siegel, Erica Dunton, Leigh Kilton Smith, Geoffrey Ross, they all are nice enough and take the time to share things that help me push through this crazy industry. In addition, with a wife like mine, private breakfasts and lunches are always an adventure in discussion, ideas, love, and reflection.
How can our readers further follow you online?
Yeah, find me @DavidDelRio on the gram.
