by Lorie Lewis Ham

Covering the arts and those who make it is one of KRL’s core purposes. Earlier this year I met local filmmaker Marcos Villarreal at one of my booksignings in Visalia for my Tower District Mystery series and began chatting about his filmmaking. We connected more recently so he could share with KRL more about what it is he does. The timing of this was perfect, as he is currently involved in a horror film which is perfect for Halloween month!

KRL: Where are you from? If not from this area, how did you end up here?

Marcos: I was born and raised in Visalia. I spent three years at COS before transferring to Humboldt State, where I earned my B.A. in Film. After that, I moved to Los Angeles and had the opportunity to work on some of the most prestigious shows and with some of the top companies in the film industry. I owe so much to the friends I made along the way. They were the ones who vouched for me, recommended me, and gave me that first chance to step onto a real set. Without them, I wouldn’t be where I am today. That support pushed me forward, and once I got in, I worked my ass off. I treated every job as a learning opportunity, no matter how small the task. I absorbed everything I could, watching how producers solved problems, how crews communicated under pressure, and how every department came together to make a story come alive. Those years in LA were like a second education. The lessons I learned there were about discipline, collaboration, and resourcefulness and how it still shapes the way I run my own productions today.

After leaving the industry, I moved back to Visalia, where I’m working to build a stronger filmmaking community. It’s still in the early stages, but I’ve made a few films here already and I’m committed to continuing that work as time goes on, with the goal of growing something lasting right here in the Central Valley.

KRL: What is your background in filmmaking?

Marcos: Unofficially, I’ve been interested in filmmaking since high school, but officially I have about 10 years of experience overall and around six years in the professional film industry. When I first moved to Los Angeles, I worked at a film transfer company converting old home movies from VHS and other formats into digital. I eventually quit that job because it wasn’t what I came to LA for, and I started picking up random gigs on shorts, music videos, and small projects, sometimes for no pay. It was just to get as much experience as possible. From there, I worked at a small multi-cam studio that produced shows for Bounce TV, where I did set construction for Family Time and In the Cut.

Through friends I met in film school, I was able to get connected to bigger opportunities, first America’s Got Talent, and soon after, shows like Snowfall and Shameless. On those productions, I gained valuable experience in line producing, budgeting, and day-to-day production logistics. But I didn’t want to be stuck as an assistant or in one department for years on end. Those jobs are great, but I wanted something more. Choosing the independent path forced me into harder situations, where experience came with struggle and every decision had weight. Network television is a lot of hard work too, but the resources and big budgets make it easier to navigate. In the independent world, you don’t have that safety net, which makes it tougher, but it gave me the freedom to create films on my own terms.

KRL: Where did you attend school to learn your craft?

Marcos: By the time I transferred to Humboldt State, now Cal Poly Humboldt, I had already changed my major about 10 times, trying to figure out what I really wanted to do. At first, I went in as a political science major, but it just wasn’t clicking. One of my closest friends noticed I was always making little videos and suggested I think about film. That conversation was the turning point, so I switched majors, committed fully, and never looked back. The program at Humboldt was very hands-on and super independent, which meant we wore a lot of hats and learned to be resourceful with limited resources. That experience really prepared me for the indie route, because working with little wasn’t as intimidating, it was something I had already been trained to do. It gave me a strong creative foundation, but the logistics side of filmmaking like budgets, scheduling, and production management really came once I started working in the industry.

KRL: What areas of filmmaking are you involved in?

Marcos: I mostly produce, but I also direct, write, and edit. On occasion I’ll pick up the camera, though I usually bring in friends who are incredibly skilled cinematographers, since I like to collaborate and let people shine in their strengths. As a producer, I really enjoy the logistics side, breaking down scripts, crunching numbers, and figuring out how to get a film made before we ever step on set. I love that problem solving process of taking a project from just an idea to something fully organized and ready to shoot. As a director, I’m a little more fluid. I’ve even had to step in front of the camera myself when an actor dropped out. For me, directing is about adaptability, sometimes it’s guiding performances, sometimes it’s making creative calls on the fly, but always making sure the vision makes it to the screen.

KRL: What first got you interested in working in film?

Marcos: I’ve always loved movies, but in high school filmmaking still felt like something far out of reach. What really got me curious was when DVDs started including director commentaries. I’d listen to them constantly, fascinated by the behind-the-scenes process. Around the same time, YouTube was starting to grow, and I followed a filmmaker named Freddie Wong, who had graduated from USC. He and his friends would release short films every week, and I loved watching those. So one summer in high school, I worked all season to save up about $400 to buy my first camcorder. I started recording everything and making little shorts with family and friends. That’s when filmmaking shifted from just being something I admired to something I actively wanted to do.

KRL: What is Wheatfield and Crows Productions and how did you become involved? And what is your role there?

Marcos: Wheatfield and Crows is actually my third attempt at starting a production company. With many failures came a lot of lessons, and I carried those forward. I officially launched this company about two years before the writers’ strike, when I made the decision to step away from the industry and carve out my own path. I named it after one of my favorite Van Gogh paintings, Wheatfield with Crows. After reading many of his letters to his brother, I was struck by how he never gave up and was always pushing forward despite hardship. That resilience and passion is something I try to channel in my own career. As the founder, I guide the company’s vision and handle everything from producing and directing to budgeting and keeping productions on track.

KRL: What types of films have you worked on? Anything people can see, or might be aware of?

Marcos: Over the years, I’ve worked on music videos, short films, and even independent feature films, sometimes as part of the crew, other times running the whole project. When I first started out, I gravitated toward experimental films, because that gave me the freedom to try different editing and camera techniques as a form of self-expression. As I grew my company, I leaned more into narrative work, focusing on telling compelling stories.

Some of my own films can be found on my YouTube channel, while the music videos and other collaborations usually belong to the artists or filmmakers I worked with. On the industry side, I’ve had the chance to be part of major productions like America’s Got Talent, Snowfall, Shameless, Diary of a Future President, The Lincoln Lawyer, and Made for Love. One highlight was working on the last five episodes of Snowfall Season 3, where you can catch my name in the credits as a Line Producer Assistant.

KRL: I understand you are working on a horror short film—can you tell us more about that?

Marcos: Yes, I’m still in the early stages, but it’s a psychological horror short that plays with perception and paranoia. Rather than focusing on gore or jump scares, it leans into the atmosphere and the unsettling tension of not knowing what’s real. At its core, the film is about fear of the unknown, how the mind can project our anxieties and doubts onto the shadows around us. It’s about that universal experience of staring into darkness too long and beginning to wonder if something is staring back.

KRL: What is involved in making a horror film?

Marcos: Horror may seem simple on the surface, but when it’s done right it can leave a lasting impact on the viewer. As filmmakers, the goal is to tap into that primal fight or flight instinct that’s been ingrained in us since the beginning. To do that, mood, lighting, sound design, and pacing are absolutely key. And often the most effective scares come not from what you show, but from what you don’t, leaving space for the audience’s imagination to fill in the blanks.

KRL: What do you like best about making films?

Marcos: No matter the size of the project, whether it’s just a couple of people on a shoestring budget or a big production with a full crew, the same things always stand out to me.

First, seeing an idea come to life from start to finish. There’s nothing like taking something that started in your head and turning it into something tangible on screen. That’s true of any art form, but film makes it feel especially real.

Second, the collaboration. I love working with other talented people who also decided to dedicate themselves to this craft. Sharing long days and nights, then seeing all that effort come together in the finished piece, it’s incredibly rewarding.

Third, film combines every art form into one: writing, acting, set design, props, costumes, makeup, hair, photography, music, lighting, editing, sound design, visual effects, even architecture and choreography. It’s the most collaborative art form I know, and that’s what makes it so powerful.

KRL: What is the hardest part?

Marcos: There’s a hard part in every stage of filmmaking, whether it’s a big production or a tiny indie. On the front end, financing and logistics are always major hurdles with coordinating schedules, making sure the right people and resources are available, and keeping everything on track. During production, you’re constantly dealing with things you can’t control, like weather, equipment breaking down, or situations you didn’t plan for that force you to adjust on the fly. In post-production, it could be corrupted memory cards, hard drives failing, or editing software glitching at the worst possible moment. But if I had to give the real answer, it’s Time. Time is the one obstacle that’s always chasing you. No matter how much you prepare, time will sneak up on you, it will stress you out, and it will always feel like it’s on your heels. As a producer, I do everything I can to stay ahead of it, but in filmmaking, time always finds a way to catch up to you.

KRL: I know you are a producer, director, and photographer, but have you written any of the films you have been involved with?

Marcos: Yes. Being super independent, I’ve had to write a few of the scripts myself. That said, I usually try to collaborate with writers who already have material, because I enjoy working with different voices and perspectives. When I do write, I always keep budget and logistics in mind so the story is realistic to produce. One of the harder parts of this job, something I didn’t mention in the last question, is having to tell writers or directors that certain things aren’t possible with the resources we have. We don’t have the budget of a network TV show or a studio film, so sometimes ideas need to be scaled back or reworked. I always try to find creative solutions to make as much of the vision possible within budget, but most often, some things do need to be cut. And that’s never an easy conversation, because no one likes hearing “we can’t do that.”

KRL: Where can people find out more about you and follow you online?

Marcos: People can check out my website wheatfieldandcrows.com, and I’m also active on Instagram at @mars2real. That’s where I share not only my photography but also updates on the projects I’m working on. It’s a way to follow my journey as I grow Wheatfield and Crows Productions and work toward one of my big goals of helping build a filmmaking hub right here in the Central Valley, almost like a little Hollywood of our own.

KRL: What are some of your upcoming projects?

Marcos: I have a few things in the works right now. A couple of friends and I recently started a podcast, we’ve recorded our first episode, which I’m currently editing. The show explores lost movies, forgotten gems, and the small miracles that somehow got made. We don’t just review films; we analyze where directors and writers draw their influences, how they subvert genres, and sometimes even create entirely new ones that open doors for others.

I’m also working on a sketch comedy show with my friend Josh. We’ve been meeting every Sunday to write, and so far we have five episodes mapped out. It’s been a really fun process, and I’m excited to start bringing that project to life.

KRL: Anything else you would like to add?

Marcos: I believe storytelling is at the heart of community. Whether it’s film, photography, or art, I want to use my work to showcase the Central Valley, its people, and the resilience that defines this place.

And if anyone here in the Valley has ever wanted to make a film but doesn’t know where to start, please reach out. I’m always open to meeting and talking through creative ideas. My goal is to support local artists and help bring their visions to life. You can reach me at wheatfieldandcrows@gmail[dot]com. Let’s make art together.

I’ve also been fortunate to work with some incredible people in the industry who have deeply inspired me. Even during my short time working in development at John Wells Productions, their team left a lasting impression on me and helped spark the idea to start this venture. Most of all, I want to thank everyone who has crossed my path, whether knowingly or unknowingly. They’ve each played a part in my journey. And a special thanks to Joy Daffern, Executive Vice President of Operations at John Wells Productions, who I recently met up with for advice and guidance. She helped me see things from a new perspective, and I’m grateful for her support as I continue moving forward. As I continue to grow my own production company, I hope one day to create something as impactful and successful as John Wells Productions.

Editor’s note: I did this interview a few weeks ago and I got this update from Marcos-I am almost done with the short horror film, should be ready for a halloween release!

If you would like to check out some of Marcos’ work you can find some videos here:

Music Videos: Directed
youtu.be/8CKMI4ilTt4
youtu.be/muoshIPw-mM
youtu.be/33qjKuqyVL0?si=LBCMUHeoxP2QWQH7
youtu.be/65W4iJPHhMM?si=3KwJ69soQ1W-G913
youtu.be/KowV9Fgr3a0?si=jH6vQOKnJeM1Cc2K

Shorts: Directed or Produced
youtu.be/w1-XiFeVqxk
youtu.be/rmttXyuwrzI
youtu.be/My4WguR5-aQ
youtu.be/kFY8F5GRfpg

Lorie Lewis Ham is our Editor-in-Chief and a contributor to various sections, coupling her journalism experience with her connection to the literary and entertainment worlds. Explore Lorie’s mystery writing at Mysteryrat’s Closet. Lorie’s latest mystery series is set in the Tower District of Fresno and the world of community theatre! Book 1, One of Us, and Book 2, One of You, are both available to purchase–links on her website.