The script was written in just two days, but I had no idea how to write one. It was a child’s idea of script formatting. However, I did something a bit unique, I believe. I wrote a lot of it shot-by-shot, particularly the “action” scenes. I even knew what kind of in-camera and post-production effects certain shots would have (such as reverse photography) so I knew how to film them properly. I essentially applied technical intel, like a production designer or special effects person would do, right into the script itself.

It was also my way to ensure I had coverage for the music I wanted in each scene. I had predetermined film score tracks in mind as I was writing the script. This included music from ‘Back to the Future,’ ‘The Neverending Story,’ ‘Godzilla (1998),’ ‘Cutthroat Island,’ ‘Hook,’ and more. I wrote several scenes, and their shots, to match beats of the music I wanted to use. That way, when we filmed it, we would have enough coverage so the footage would hit certain beats when edited with the music. I wanted to create the illusion that this amazing orchestra music was made for my no-budget film at the writing stage.

Before I acquired a cast and crew from my video production class, I obtained a Ouija board from a friend. I couldn’t find one in town, and there wasn’t enough time to order one online. I had to warn him, “are you okay with never getting this back?” This was because, without too many spoilers, it gets “damaged beyond repair.” He got a “special thanks” in the film’s credits; that’s good repayment, right? I was also able to borrow a pair of prop swords from the high school’s theater department. These were realistic-looking swords that were dull but still a bit sharp. I remember, during the sequence they were used, that we were still nervous about slicing each other with them. It’s a miracle the theater instructor even allowed us to do this, but I think it helped that I already knew him for a few years from the plays I had been in.

Once my cast and crew were assembled, they were all excited. We were making a funny horror movie and not a simple music video like most students. Unfortunately, just like the protagonists of ‘OUIJA,’ things didn’t go according to plan. The production had a lot of problems. One of the biggest causalities were big portions of the script: cut characters, cut scenes, and more. Despite this, it was filmed on February 22^nd, 2004. Have I mentioned that my acting in it is quite unhinged? I don’t know what kind of energy ball I was on, but it was insanity to the point of being both annoying and entertaining all at once.

On March 4^th, 2004, it was finally edited & completed. While my original vision was compromised, the intended feel of the film and most of its key sequences remained intact. In fact, I must admit the troubled circumstances created a faster and leaner version of what I had written, ultimately making it superior. There’s a lot more to this insane part of the film’s history, but I’ll get into it later.

When people finally saw it, they were certainly amused by the results. Make no mistake: it’s a bad film, but enjoyably so! At least, that’s been the consensus, apart from some that said it was simply “stupid.” Honestly, it’s far more enjoyable than the 2014 film I mentioned before (although I did like the Mike Flanagan-directed sequel a bit). But why not watch it for yourself and see what you think?

OPERATION: TAPE EXTRACTION

When the film’s edit had been completed at school, I was only able to keep it as a tiny QuickTime file in awful quality and a DVD transfer that had blocky encoding issues and audio out of sync. It was the best I could get at the time. However, I devised a backup plan. You see, I was a bad boy back in 2004. The camera and tape used to film ‘OUIJA’ were both school properties. Usually after a student filmed a project, they would transfer it to iMovie and then export their edited results. Their original unedited tape would later be recorded over by another student or disposed of. Knowing this, I, “good boy Derrick,” did something a bit out of character: I took the tape. Okay, fine, I stole the tape; I admit it! If the school wants to come after me, 20 years later, and get me to cover the cost of a Mini-DV cassette then so be it!

The footage was priceless. I knew that the tape contained every take of every scene we filmed, which meant it also included bloopers. We had a lot of fun filming the movie, and I knew there were some golden bloopers and outtakes I didn’t want to lose forever. My idea was to one day assemble a reel of them, since I didn’t have time after completing the film edit in class. Reconstructing the entire film in better quality was not something I considered at the time, but knew it was also possible. I didn’t own a camcorder that played Mini-DV tapes, and I wasn’t about to steal one as well. One day, I hoped I’d buy my own camcorder that could play the tape then transfer it again on my own computer and do with it as I wished.

RESTORING & REVISITING THE FILM

For years, I was content with the low-quality files I had. But as computers and TVs advanced in definition, so did my desire to see the ‘OUIJA’ “master tape.” In 2012, I finally bought a used Mini-DV camcorder on eBay since they were already obsolete. Soon after, I made a new digital transfer of the unedited footage. While the tape from 2004 wasn’t the highest in definition, the difference was astounding.

I soon made a new edit of the film, reconstructing it to match the original edit in vastly superior quality. I was largely faithful in its recreation, and it helped that I had kept some elements that weren’t filmed. This included dialogue I had recorded during its original edit that was remixed to sound tinny, since it was meant to be heard through a telephone. The most vital piece of additional audio was the warbled effects that were applied to the song “Low Rider” by War during the film’s bizarre radio scene. Apart from a minor change in music for a couple of scenes and a few shots that were moved around, this was the ‘OUIJA’ people remembered.

This time I kept track of the footage that was cut from the film edit to assemble into a blooper and outtake reel. I decided it would simply play after the end credits in this version. Seeing this cut footage was like discovering a personal holy grail. There were so many goofy moments, from me squirming on the floor like a maniac to getting the door accidentally slammed against me by my co-star. It was gold! It had been so many years since I had last seen it all, and it felt like I was filming it all over again. The reel also revealed how dialogue became improv-like, since every take featured different phrases each time. This was thanks to unfortunate production situations, which I promise I will get to! But it also showed just how much fun we had making it.

“LOW RIDER” PROBLEMS

This restored edit was on YouTube for several years. It of course got lost in the mass of far superior amateur & professional works, but I was just happy it was out in the ether. Unfortunately, at one point it was taken down by YouTube. This was because the “Low Rider” song had a copyright strike against it, out of the blue. I believe at the time it wasn’t considered “fair use,” which was preposterous. The video wasn’t even being monetized. It was uploaded to my personal channel, which had never been capable of doing so.

In order to re-upload it to YouTube, I was forced to replace the song (along with the original warble effect) with EDM-style music by Mikhail Cucuk (one of the orchestrator/composers who worked with me on ‘Invertiverse’). While the music was fine in the scene, it honestly lost the goofiness of having “Low Rider” suddenly appear. It was what made it work. However, this new edit gave me a chance to also do some other tweaks and updates, such as fancier title cards, that I felt were needed at the time (but have since been removed). For a few years, this was the only version of the film publicly available.

THE 20^TH ANNIVERSARY EDITION

It’s somehow now 2024: the film’s 20^th anniversary. I have produced a fresh offload in 1080p resolution this time, featuring a revised edit. Some things have been restored to their original form, but with a couple additions. Most notably, I’ve reinstated the “Low Rider” song. That’s right, I am taking another chance. As a backup, it’s also hosted on The Internet Archive as well. But if a problem arises again, the “EDM Version” will unfortunately have to return to YouTube.

A completely new surprise has been added at the beginning of the outtakes/blooper reel. I thought it would be fun to do a new audio recording of me reading the ridiculous newspaper article insert that is seen in the film. I wrote the brief fake article in 2004, several hours after we shot the rest of the film. It included a horrendous picture of me taken at home, still in my “Daniel” outfit. The newspaper insert was the only shot that wasn’t on location. Since this article is only seen for a few seconds, but never read, I thought it should finally get its spotlight. Unfortunately, the original file of the insert image was created at a low resolution. But thanks to upscaling technology, I was able to enhance it alongside my goofy reading. I have also restored a brief but memorable shot at the end of the reel that for some reason was missed in the original edit.

Some new elements were added into one of the film’s scenes that could be considered a bit too revisionist. Just hear me out! [SPOILERS if you haven’t watched it yet, skip the rest of this paragraph if needed.] Near the climax, there is a scene where Carol (the “final girl” in the film; also, the only girl in the film) gets attacked by a possessed lamp. For whatever reason, aspects of this scene didn’t make sense because not enough footage was shot. Why is the lamp’s cord wrapped around her leg then suddenly not? Being curious, I revisited my original script to see what my intent was. Sure enough, several shots just didn’t happen, but I also discovered the possessed lamp was meant to make sounds. I then recorded my own voice and applied simple editing software, creating weird sounds for the lamp and added them to the scene. I also modified an earlier shot with the sounds to imply that Carol hurt the lamp. It then released its grasp… before sliding after her again for a second attack.

THE END OF AN ERA

I hope you enjoy my ‘OUIJA’ film for what it is. Yes, it’s a silly student film from twenty years ago, and for many, there may not be anything special about it. Well, it’s special to me, so I thought I would share its wild history. While I have truly only made one other short film so far, this one has been close to my heart for two decades. It deserved one final go at a restoration, and to finally talk about it in-depth once and for all.

Oh, that’s right! How could I have forgotten? You probably still want to know about the film’s troubled production after I teased about it, don’t you? Well, it was twenty years ago, so I’m not sure how good my memory will be. Let’s see, I think it started with— oh, wow! Look what I just found! It’s a document that I wrote back in 2004 when I had just started editing the film! It chronicles, at length, all the drama that happened. Being a teenager at the time, it must have bothered me so much that I wanted to write it all down. Or perhaps I was anticipating doing an article like this two decades later? Whatever the reasons, it’s kind of amazing I wrote and kept this.

To end my massive story behind ‘OUIJA,’ we are going back to where it all began. “Part Two” of this article showcases the document that I wrote in 2004, with some minor revisions. I hope you enjoy “teenager Derrick” and his writing. And please if you haven’t already, watch my ‘OUIJA’ film, damn it! Have a good laugh and be sure you stay through the credits! Lastly… if you somehow summon any spirits by mistake, make sure they “go to hell, and stay there this time!”

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“Part One” of this article was written & assembled by Derrick Davis on April 13th, 2024 exclusively for Derrick Davis Media.