“Where Spirits Walk: Capturing San Francisco’s History and

Q: How did the story of Possession of Mara come to you?Doctor Zee: The story came from my own involvement with spiritualism. I am a medium, and I truly believe that our loved ones who have passed into spirit are still with us. We are love beings having a bodily experience, and love never dies. My own mother has passed away, yet when I call her, she comes to me. That understanding — that connection — became the heartbeat of the story.

In the film, Christopher has recently lost his mother. He is grieving, searching for meaning in his life. His journey mirrors some of my own spiritual experiences. I wanted to explore how grief opens us up — not just to sorrow, but also to deeper connections. That’s why, in the story, Christopher meets a man on the streets of San Francisco with a parrot on his shoulder. This seemingly chance encounter leads him to the Golden Gate Spiritualist Church, a place where  faith, love, and the supernatural intersect. I discussed the story with my Co-writers Jeffrey Wayne and Richard Kjeldgaard and we worked on it together for a year.

Q: How did you find the actors for Possession of Mara? A: We began casting through Backstage.com, which is a great resource for discovering talented actors. After posting the ad, we received about 452 resumes. From there, I started looking more closely at local talent and setting up auditions.

That’s how Alec Barnet came in. I could see traces of Christopher in him right away, but it actually took about five meetings before I was fully convinced. Once it clicked, though, he became Christopher. I feel very fortunate to have discovered such strong new talent.

Archie Meisner was another key find. When he auditioned, he was instantly perfect for the role of Matthew — we knew it on the spot. He’s a very hard worker and brought a lot of heart to the role.

The role of Lucifer/Iblis was one of the most challenging to cast. Vlad Len, a Russian actor, originally auditioned for a different role. But when I met him, I was struck by his presence. I actually called him later that night and asked him to prepare for Lucifer. When he returned, he was so well-prepared and powerful that he landed the role with ease.

Finding Mara was the most difficult part. Many actresses auditioned, but none felt quite right. Then Archie suggested Aubrey Bence. The moment she read the first scene, I knew — she was Mara. She gave an incredible performance, and we are so proud that she has since won “Best Actress” at the Luleå International Film Festival for this role.

For Hildegard, I came across an actress Yael Schy on Facebook who was an improviser. I watched some of her videos and invited her to audition. She surprised me by preparing the same scene in five different English accents — Southern, New Yorker, California, British, and even a hippie accent. That level of creativity and preparation convinced me she was the right choice.

We even spoke with Academy Award winner Rita Moreno about joining the cast. She was very kind, but at her age — in her 90s — her health didn’t allow her to participate.

Altogether, it was a fascinating casting process. Between our leads, about 50 extras, and other speaking roles, I feel we were able to bring together a really unique and passionate ensemble.

Q: How did you find your crew for Possession of Mara? A: A lot of it came through collaboration and trusted connections. Archie Meisner, who plays Matthew, was instrumental in bringing some of the crew together. He had worked with Trevor Bennet before, and recommended him as Assistant Director. We brought Trevor on board, and it turned out to be a fantastic decision — we built a really strong working relationship. Valentin Van Zandt was brought as a Key Makeup artist. 

For cinematography, I turned to someone I had worked with before: Leo Moring. He had been the cinematographer on my earlier film San Francisco Cowboy, and I knew he had both the eye and the discipline for this project. His partner, Carrin MacFarlane, joined as our sound recordist. At the time, they were expecting a baby, with the due date right around our shoot. They were so committed to the film that they stayed with us through the whole production — and little Leo was born just a week after we wrapped principal photography. That kind of dedication meant the world to me.

As with most independent films, the days were long and the work was demanding, but the spirit on set was incredible. We all pulled together — cast and crew alike — and that collective passion is really what made Possession of Mara possible.

Q: The film has some striking locations. How did you find them? A: We were truly blessed when it came to locations. One of the most amazing finds was the Majestic Hotel. The first time I visited, I thought, this is a dream. It’s such an iconic historic hotel that I honestly assumed the owners would never allow us to film there.

But then I met Amit Shirwalker, the manager. I explained to him why the hotel was so important to the story, and he really listened. He took our request to the owners, and after a few conversations, we were given the green light to shoot there. It was such a thrilling moment for us — a huge achievement for an independent production.

The Majestic Hotel added a real sense of atmosphere and authenticity to the film. Having access to a location like that elevated the entire project.

Q: Besides the Majestic Hotel, what other memorable locations did you shoot in? A: Another incredible location was the San Francisco Columbarium, which is a historic landmark in the city. A friend of mine, Tom — who I met through the Lunch Bunch — first took me there. The moment I walked into the building, I fell in love with it. I thought this would be such a powerful place for a scene in the film.

All we had to do was reach out to them, and they were so kind and gracious. They allowed us to use the Columbarium for four hours to shoot, and it was truly a blessing. The architecture, the energy of the place, and the sense of history it carries added so much atmosphere to the film.

Q: Christopher’s house feels very authentic on screen. How did you find that location? A: That house was truly special. It’s a beautiful old San Francisco home in Haight-Ashbury, owned by Miguel Guitterez. I actually knew Miguel from seeing him at Dolores Park — he’s always winning the ‘Easter Hat’ contests there! One day we got talking, and he invited me over to see his house.

When I stepped inside, I was mesmerized. It’s a historic home, built nearly 200 years ago, and it still has all the original woodwork, old appliances, and magnificent period design. It felt like stepping back in time. I knew right away that it would be perfect for Christopher’s home in the film. Miguel was so kind and generous in letting us shoot there, and the house really gave the film a sense of lived-in history and character.

Q: The film also features scenes in a church. Can you tell us about that? A: Yes, we were blessed to film at the Golden Gate Spiritualist Church, which is over a hundred years old and carries an incredible history. It’s not just a building — it’s a place where people truly believe spirits can be felt and communication is possible.

Shooting there gave the film an authenticity that no set could replicate. When you see those scenes, you feel the presence of something beyond the ordinary. For me, as someone deeply involved in spiritualism, it was very important to include the church. It grounds the story in a real tradition and reminds us that the spirit world isn’t just fiction — it’s part of our lived experience.

Q: The film also features a nightclub sequence. Where was that filmed? A: We were fortunate to film those scenes at Savoy Tivoli, a legendary club in North Beach. The place has such an amazing vibe — full of character, with rich colors, an old-world charm, and a spacious dance floor that gave us so much room to work with visually.

Tito, the owner, was incredibly generous in opening the doors to us. Shooting there was a real highlight, and I can honestly say those club scenes are some of the most unforgettable moments in the film. The energy of Savoy Tivoli is alive on screen.

Q: San Francisco feels like a character in your film. Can you talk about the locations? A: Absolutely. San Francisco was vital to the atmosphere of Possession of Mara, and we wanted to capture more than just the postcard icons. Yes, you’ll see the Golden Gate Bridge, Chinatown, and North Beach, but what really excites me is that the film also shows the nitty-gritty beauty of the city — its hidden corners, streets, and historic spaces that don’t often make it into big Hollywood productions.

We were very fortunate with our locations. The Majestic Hotel was a dream come true — such an iconic and historic space. Another highlight was the San Francisco Columbarium, which is a landmark with an incredible atmosphere. Christopher’s home is a real Haight-Ashbury house, nearly 200 years old. The old woodwork and period details gave it a sense of lived-in history that no set could ever replicate. For the nightclub scenes, Savoy Tivoli in North Beach, which has fantastic colors and an unforgettable energy on its dance floor.

Altogether, the city gave us so much — from Chinatown streets to downtown alleys — that the film really feels grounded in the real San Francisco. It’s not just the glossy icons, it’s the soul of the city itself.

Check out Doctor Zee’s website at www.doczeefilms.com and watch his films for free on http://bit.ly/3VzBfgd . You will love them.