Oct 16, 2026 · 1 hr 5 min · 12 segments
This Episode of Timecode: Dead Air, we rap with Eduardo Sánchez, the co-creator of The Blair Witch Project. He talks […]
Eduardo SánchezGuest
Jon WoodHost
And it was like three or four clips that were all about 20 seconds a piece because that's, you know, back in the day what you could get.
And it was AVI files and it was so grainy and pixelated because that's what it was.
So when you look back now and think about how incredible it was for that internet to be of any assistance, much less huge people going crazy about it, y'all really hit just a brilliant, brilliant idea with that one.
And they're the ones that, for the first, we actually screened the film, the two and a half hour version, the first time, projected the movie at The Enzian.
They were the only theater in the area that had a digital projector that had video you could do.
So Mike, you know, Mike was like, I don't know what he was booking and he was marketing.
And so he was he knew like kind of he had been to Sundance a few times and, you know, he had been to a bunch of festivals.
And he kind of guided us with through like, you know, once we got into Sundance, we had to raise some more money and, you know.
it was a little easier because we have a movie that's going to Sundance, but it was basically to make posters and to do, um, you know, little cards and hats and pins and, and the, the, um, the missing poster was something that we had used in the part, you know, in the phase two of the shooting, which of the film, which ended up being curse of the Blair witch, but was originally supposed to be part of the actual movie.
And, um, So we had that and I, you know, we just, I don't think we, we didn't like go crazy, but we definitely asked people cause Mike was like, look, you, you know, you go early and you ask the store owners, they put, can I put my poster and can I put this? And sometimes they don't have, you know, room for a poster.
So we made these not, not many, many posters, but you know, smaller size posters.
And then we had these missing flyers and we just said, Hey, can we put this up on the, in your window? And, know there's bulletin boards but you know they you know they get everybody's putting their stuff you know their film you know on the bulletin boards and trying to get it into the you know shop owners and stuff um so you know we we probably did quite a bit of that and then later on once we got the the missing post thing really the artisan did that at can like they i think they plastered it all over the place um we had nothing to do with that like physically but Um, and I think that's when they got more like notoriety of like, oh my God, what is this? You know? But, um, but yeah, Sundance was just like, you know, thanks to Mike, um, we knew, you know, we kind of had a, uh, kind of a plan.
And then also by that time, the movie had, we already had a lawyer, we had an agency and we had, um, you know, Hollywood, uh, LA agency, like, you know, repping the movie.
And it was like three or four clips that were all about 20 seconds a piece because that's, you know, back in the day what you could get.
And it was AVI files and it was so grainy and pixelated because that's what it was.
So when you look back now and think about how incredible it was for that internet to be of any assistance, much less huge people going crazy about it, y'all really hit just a brilliant, brilliant idea with that one.
And they're the ones that, for the first, we actually screened the film, the two and a half hour version, the first time, projected the movie at The Enzian.
They were the only theater in the area that had a digital projector that had video you could do.
So Mike, you know, Mike was like, I don't know what he was booking and he was marketing.
And so he was he knew like kind of he had been to Sundance a few times and, you know, he had been to a bunch of festivals.
And he kind of guided us with through like, you know, once we got into Sundance, we had to raise some more money and, you know.
it was a little easier because we have a movie that's going to Sundance, but it was basically to make posters and to do, um, you know, little cards and hats and pins and, and the, the, um, the missing poster was something that we had used in the part, you know, in the phase two of the shooting, which of the film, which ended up being curse of the Blair witch, but was originally supposed to be part of the actual movie.
And, um, So we had that and I, you know, we just, I don't think we, we didn't like go crazy, but we definitely asked people cause Mike was like, look, you, you know, you go early and you ask the store owners, they put, can I put my poster and can I put this? And sometimes they don't have, you know, room for a poster.
So we made these not, not many, many posters, but you know, smaller size posters.
And then we had these missing flyers and we just said, Hey, can we put this up on the, in your window? And, know there's bulletin boards but you know they you know they get everybody's putting their stuff you know their film you know on the bulletin boards and trying to get it into the you know shop owners and stuff um so you know we we probably did quite a bit of that and then later on once we got the the missing post thing really the artisan did that at can like they i think they plastered it all over the place um we had nothing to do with that like physically but Um, and I think that's when they got more like notoriety of like, oh my God, what is this? You know? But, um, but yeah, Sundance was just like, you know, thanks to Mike, um, we knew, you know, we kind of had a, uh, kind of a plan.
And then also by that time, the movie had, we already had a lawyer, we had an agency and we had, um, you know, Hollywood, uh, LA agency, like, you know, repping the movie.
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