The Nick Taylor Horror Show

Kurt Sayenga is a writer, director, and showrunner who has become a leading force in horror documentary filmmaking. Kurt made a name for himself with series like Eli Roth's History of Horror, The 101 Scariest Horror Movie Moments of All Time, and Horror's Greatest, where he brings a scholar's eye and a fan's passion to the genre's most iconic moments. In this episode, we delve into Kurt's journey from punk-rock zine publisher to award-winning documentarian, his approach to keeping horror history fresh, and his insights on the past, present, and future of the horror genre. Please enjoy this conversation with Kurt Sayenga!Show NotesMovies DiscussedThe Mummy (1932)The Architects of Fear (The Outer Limits, 1963)CarrieHorror ExpressDon't Look NowNosferatu (2022)Beau Is AfraidMagnoliaSilence of the LambsSe7enTerrifier 2BarbarianCompanionHeart EyesThe StuffDr. StrangeloveVideodromeThe FlyThe ExorcistCell (Stephen King)HereditaryDirectors & Filmmakers ReferencedKurt SayengaQuentin TarantinoRob ZombieGreg NicoteroEdgar WrightEli RothDavid LynchMario BavaDario ArgentoLucio FulciTakashi MiikeNicolas RoegAri AsterPaul Thomas AndersonDavid CronenbergStephen KingRobert EggersJordan PeeleDavid DastmalchianMusic ReferencedThe MisfitsThe CrampsGun ClubFugaziMinor ThreatFollow Kurt Sayenga at:IMBd: https://www.imdb.com/name/nm1012131/Instagram: https://www.instagram.com/hermeneuticcircle/Website: https://www.kurtsayenga.com/LinkedIn: https://www.linkedin.com/in/kurt-sayenga-57961a8/

On this episode we dive deep into the making The Invisible Raptor with writer and star Mike Capes and producer Nic Neary. The film is a hilarious, Amblin-inspired horror-comedy that delivers big creature-feature thrills (without ever showing the creature itself).Mike and Nic share how the movie originated as a 3 AM idea, the journey from script to screen, and how they secured funding and distribution in a competitive indie film market. They also get into guerrilla filmmaking tactics, crafting a compelling pitch package, boosting production value with amazing locations and handling on-set crises. Please enjoy this conversation with Nic Neary and Mike Capes.Show NotesMovies Mentioned:Jurassic Park (1993)Ghostbusters (1984)The Goonies (1985)Indiana Jones franchiseE.T. the Extra-Terrestrial (1982)Jaws (1975)Airplane! (1980)The Naked Gun (1988)Gremlins (1984)Super Troopers (2001)Speed (1994)Pee-Wee's Big Adventure (1985)Ghostbusters II (1989)Terrifier (2016)It's Always Sunny in PhiladelphiaTeen WolfHere are some key takeaways from this conversation with Mike & Nic.You Have Got to Stand Out.The film industry is oversaturated with scripts, projects, and ideas—pitching something uniquely is essential. The Invisible Raptor team understood that a script alone wouldn't grab attention, so they built a compelling pitch package with costumes, action figures, a movie poster, and a humorous pitch video. These tangible assets made the project feel real to investors, giving it momentum before it was even funded. A script isn't always enough—filmmakers should create visual, physical, or digital materials to showcase their vision, commitment and enthusiasm.Write the Movie You Want—Then Find a Way to Make It HappenConventional wisdom tells indie filmmakers to write “contained, low-budget” scripts—but the Invisible Raptor team ignored that advice. They wrote a film with a dinosaur theme park, elaborate effects, and car chases, then figured out how to make it work through resourcefulness, networking, and persistence. Finding an affordable dinosaur amusement park seemed impossible—until a chance conversation with John Stamos led them to the perfect location. Discovery Cube Science Center in Anaheim, where Stamos' sister worked, had everything they needed—including a giant animatronic dinosaur that pooped, which fit the script perfectly.By piecing together multiple assets through favors the team gave the movie a much bigger scope than its budget should have allowed. Don't let financial limitations stifle your creativity—write the best version of your story, then problem-solve to bring it to life.Hire for EnergyFilmmaking is grueling, especially on an indie production where long hours and tight budgets push everyone to their limits. The Invisible Raptor team knew that keeping morale high was just as important as hitting their shots. A positive, energized set prevented burnout and kept the production moving forward, even when challenges arose. They understood that even one toxic crew member can derail everything. That's why they were selective in hiring—not just bringing on trusted friends, but choosing people who truly supported the vision. Negativity spreads faster than positivity, so keeping the right energy on set meant keeping the right people around.Follow Mike Capes at:IMBd:

On this episode of The Nick Taylor Horror Show, we're joined by journalist and horror scholar David Katznelson. Known for his meticulous exploration of the horror genre's history, David shares details behind a fascinating project where he watches and analyzes every horror movie from the 1970's. His most recent focus has been 1974—a pivotal and hauntingly transitional year in horror.From Texas Chainsaw Massacre to forgotten gems like Help Me, I'm Possessed, David's work breaks down the evolution of horror, how societal chaos like the Vietnam War shaped the genre, and what makes 1974 a landmark year for the genre. We also discuss his upcoming book on 70s horror and the enduring impact of directors like Tobe Hooper. Whether you're a die-hard horror fan or a filmmaker looking for historical inspiration, this episode is a treasure trove of insights into horror's rich legacy.Show NotesMovies DiscussedTexas Chainsaw MassacreHelp Me, I'm PossessedIt's AliveDerangedBlack ChristmasFlesh for FrankensteinBlood for DraculaLegend of the Seven Golden VampiresCannibal HolocaustThe Friday the 13th franchiseThe Texas Chainsaw Massacre franchise (including Leatherface: The Texas Chainsaw Massacre III and Texas Chainsaw 3D)Exorcist-inspired films (The Sexorcist, Legacy of Satan)70s exploitation films (Vampyros Lesbos, Blood Splattered Bride)Mother of Tears (2007)Dark Glasses (2022)Longlegs (2024)The Substance (2024)Strange Darling (2024)Evil Dead Rise (2023)Heretic (2024)Terrifier 3 (Upcoming)Barbarian (2022)Renfield (2023)Jason X (2001)The Howling II: Your Sister Is a Werewolf (1985)Cannibal Holocaust (1980)Directors & Filmmakers ReferencedTobe HooperAndy WarholPaul MorrisseyHerschell Gordon LewisDario ArgentoBooks & ProjectsDavid's upcoming book on 70s horrorThe Dybbuk (classic Judaic horror)Music ReferencedThe MisfitsBauhaus The DamnedJapanese noise musicPlatforms & NewslettersDavid Katznelson's Substack: The Signal from David KatznelsonFollow David Katznelson at:IMBd: https://www.imdb.com/name/nm10775975/Instagram: https://www.instagram.com/oakiedog/X (Twitter): https://x.com/oakiedogSubstack: https://oakiedog.substack.com/LinkedIn: https://www.linkedin.com/in/david-katznelson-3a1601/

Today we're joined by Academy Award-winning filmmaker Adam Elliot. Adam is Known for his painstakingly handcrafted stop-motion films like Mary and Max, and the shorts Harvie Krumpet, which won an Oscar, and Ernie Biscuit.Today Adam shares the emotional and artistic journey behind his latest film, Memoir of a Snail—a deeply personal, darkly whimsical tale about a young girl named Grace and her struggles with isolation and self-discovery.Memoir of a Snail—is nominated for Best Animated Feature at the Academy Awards and as much as I loved Flow and The Wild Robot, I'd love to see this movie take home the gold. One thing that struck me when I was watching this is that AI doesn't stand a chance against work like this—the work is painstakingly personal, soulful, and filled with human touch and it's authentic movies like these that we need to rally behind.I cannot say enough good things about this movie, it made me laugh, it made me cry and I found it both entertaining and deeply moving. So all of you Academy voters, make sure to see it before the big day.In today's episode, Adam reveals the meticulous process behind crafting his stop-motion films, the challenges of writing deeply human stories, and why he insists on using entirely practical techniques in an age of CGI.Here are some key takeaways from this conversation with Adam Elliot.1. Celebrate ImperfectionsAdam's aesthetic stems from a physiological tremor that makes drawing straight lines difficult for him. By embracing his imperfections, he's developed a signature style he calls “chunky wonky.” He encourages artists to celebrate their flaws, both in themselves and their work, as it adds authenticity and charm.2. Embrace Originality by Looking InwardAdam emphasized the importance of creating work that is uniquely your own. Drawing inspiration from his family, personal history, and everyday people, he crafts deeply human stories. For emerging filmmakers, he advises focusing less on homage and more on introspection to find your unique voice.For filmmakers searching for their own voice, Adam suggests taking a step back from external influences. Instead of asking, “What kind of films do I want to make?” he advises asking, “What stories do only I have to tell?” He believes that everyone has unique experiences that can be shaped into compelling narratives—whether it's an unusual upbringing, a family quirk, or an unforgettable encounter.At the heart of originality is authenticity. Audiences connect most with stories that feel honest and deeply personal. Adam's advice: don't chase trends or worry about what's marketable—dig into your own life and embrace the details that make you, you.3. Art Takes TimeAdam's writing process is unconventional—he starts with the details first, such as small quirks and objects (e.g., John Denver music, guinea pigs), and then pieces together the story and structure later. He went through 16 drafts of the script over three years, emphasizing the importance of patience, meticulous research, and revision. Memoir of a Snail took eight years to complete due to Adam's dedication to every stage of production—from scriptwriting to crafting the characters and sets. His meticulous attention to detail is a reminder that meaningful work often requires patience and persistence, but the results can be amazing.4. Balancing Comedy and Tragedy Engages AudiencesAdam's films strike a delicate balance between humor and heartbreak, ensuring that audiences experience an emotional journey without being overwhelmed by darkness. He believes that life itself is a mix of light and dark, and his goal as a filmmaker is to capture that contrast in an authentic way. If a film leans too bleak, it risks leaving audiences emotionally...

I'm very excited because today, we're joined by Elric Kane—filmmaker, podcaster, household name in horror and one of the most knowledgeable voices in genre cinema. Elric is the co-host of the ‘Colors of the Dark' Podcast which I listen to religiously as well as & The New Beverly Cinemas ‘Pure Cinema' Podcast.Elric's new feature ‘The Dead Thing' launches on Shudder today! I got to see it at an advanced screening and I urge you to check it out on Shudder because it's excellent and beautifully crafted.In today's episode, Elric and I dive deep into the making of the Dead Thing including his innovative financing strategy, the challenges of directing an indie, the importance of casting, and navigating post-production hurdles. Please give it up for Elric Kane.Key TakeawaysBudget Wisely & Plan for Post & DeliverablesA common and generally positive ethic of filmmaking is to put every dollar on screen but many indie filmmakers make the mistake of spending their entire budget on the shoot, only to realize too late that post can be just as expensive and time-consuming. Elric stresses that without a proper plan for editing, sound design, color correction, and deliverables, filmmakers risk delaying their release or running out of money before the film is finished. Furthermore deliverables—like legal clearances, contracts, paperwork and permissions—can take months to finalize and often cost more than expected. Budget accordingly.Cast Well, Direct LessAccording to Elric, a director's best tool is strong casting. No amount of great cinematography, effects, or editing can save a film thats been miscast. Elric emphasizes that the best performances come from actors who already embody the role, rather than ones who need to be excessively directed. The right actors make directing easier and more organic, allowing the filmmaker to focus on the bigger picture.Elric hired casting director and friend of the show, David Guglielmo, who not only found great actors but also helped with industry connections and even stepped into somewhat of a producer role. A strong cast carries the movie, and a good casting director can open doors you can't and they are worth every penny.Consider Network FinancingInstead of relying on crowdfunding platforms or searching for a few large investors, Elric took a different approach—he asked multiple people in his network for smaller investments, typically in $5,000 increments. This approach helped him and his team raise nearly the entire budget in two months.His advice for anyone hesitant to ask for money is to start by asking the person you least want to ask. Once you've crossed that mental hurdle, every ask after that becomes easier. $5,000 investments can add up very quickly - and it's not that you need to replicate this exact strategy but it's important to think creatively about how to finance your movie.Be Relentless About What Matters MostFilmmaking requires a lot of sacrifices, but not all of them are created equal. Elric believes that certain scenes are non-negotiable because they define the essence of the film. Throughout the production of The Dead Thing, he had to fight to keep crucial moments in the film, even when time constraints forced other compromises. His philosophy is to figure out what the life force of the film itself is and make sure you get it in the can. Knowing what is essential and protecting it at all costs is what separates great directors from those who let production pressures dilute their film. Elric quoted the Cohen brothers who called the director the immune system of the...

Josh Ethier is a film editor who has become a household name in horror. Josh is the editing force behind such films as: Contracted, Some Kind of Hate, We are Still Here, Mayhem, Leatherface, Bliss, VFW, Orphan First Kill, Christmas Bloody Christmas, The Seventh Day, Gretel and Hansel, Don't Breathe and most recently Companion which he edited alongside Brett Bachman.In this episode, Josh gets into his career history, editing process, collaborations with filmmakers like Joe Begos and Osgood Perkins and the story behind the recently released Companion, which is one of my favorite horror movies in a long time. This is a really insightful conversation that I really enjoyed and think you will as well. Please welcome, Josh Ethier!Here are some key takeaways from this conversation with JoshLook for the Note Behind the NoteAudience feedback can be a double-edged sword—sometimes useful, sometimes misleading. Josh learned early on from Stuart Gordon (Re-Animator) that feedback isn't about taking every note literally but understanding the note behind the note which requires deeper analysis.For instance, on Companion, early test screenings showed that one character was getting lower audience scores. Instead of softening the character, they leaned into the audience's dislike and committed to it—embracing the audience's reaction rather than trying to cater to feedback. As a result, the character actually scored higher in later tests.Editing is a “Four-Month Conversation” Between Director and EditorThe relationship between an editor and a director is one of the most intimate creative partnerships in filmmaking. Josh emphasizes that the strongest director-editor teams are built on genuine relationships, which is why socializing and getting to know each other outside of the work is just as important as the technical process.The best collaborations happen when an editor and director truly understand each other's creative DNA—the movies that inspire them, their sense of humor, their artistic instincts, and how they think about storytelling. The editing room isn't just where cuts are made; it's where creative risks are taken, where directors feel safe enough to experiment, and where an editor helps guide them toward their best possible work.The more an editor and director understand each other, the better they can anticipate each other's needs, develop a shorthand, challenge each other in the right ways, and ultimately make the movie stronger.Immerse Yourself in QualityJosh believes that editors—and all filmmakers—should obsessively watch and absorb great films. But instead of overanalyzing or attempting to reverse-engineer their greatness, the key is exposure. Some films are great because they have an innate rhythm, a unique DNA that can't simply be replicated. Rather than trying to deconstruct and apply a formula, internalize their essence. Understand what great filmmaking feels like, so when it comes time to shape your own work, you instinctively recognize when something is working—and when it's not. This is also a common piece of creative advice given by Rick Rubin, and I highly recommend his book The Creative Act.SHOW NOTESMovies DiscussedCompanion (2024)Almost Human (2013)Contracted (2013)Gretel & Hansel (2020)We Are Still Here (2015)First Blood (1982)Jaws (1975)Seven (1995)Looper (2012)Books & ResourcesIn the Blink of an Eye – Walter MurchThe Conversations: Walter Murch and the Art of Editing Film – Michael OndaatjeEasy Riders, Raging Bulls – Peter...

Today we're joined by action-horror filmmaker Steven C. Miller to discuss his latest barn-burner of a movie, Werewolves. Werewolves is an unapologetically fun and hydraulic creature feature packed with practical effects, action, and a whole lot of Frank Grillo. Steven dives into his experiences directing Werewolves, his focus on practical effects and full creature suits crafted by Alec Gillis and Tom Woodruff Jr., and his collaboration with star Frank Grillo.Steven also shares his compelling origin story, which included living in his car in Los Angeles before going on to direct multiple action features and collaborating with legends like Bruce Willis, Nicolas Cage, and Sylvester Stallone. This episode was a real blast and is packed with advice and insights for all you horror filmmakers out there. I hope you enjoy this conversation with Steven C. Miller, director of Werewolves.Here are some key takeaways from this conversation with Steven C. MillerGet a rallyerOne of the standout perks Steven shared about working with Frank Grillo is that Frank is a natural rallyer on set. He possesses an authoritative and trusted presence that helps elevate the cast and crew, motivating them to back Steven's decisions and rise to the challenges of production. Having someone like this on set is invaluable. On any film shoot, there will be moments when morale dips, fatigue sets in, or tensions arise. A rallyer—someone who can inspire and energize the team—can make all the difference.However, this kind of relationship hinges on trust. Frank Grillo has been on a lot of sets, worked with a lot of directors and has a pretty sharp bullshit detector. During Werewolves, Frank would ask Steven pointed questions, and because Steven always had solid answers, Frank trusted him. This mutual respect allowed Frank to step into a quarterback-like role on set, helping to unify and inspire the team. As a filmmaker, seek out cast members who possess this quality—but understand that it's your responsibility to earn their trust and respect first.Keep it movingSteven's action-oriented directorial style thrives on momentum. Anyone will tell you that filmmaking is largely waiting around, but Steven counters this with a fast-paced, dynamic approach. By minimizing downtime, he keeps actors engaged, energized, and ready to deliver their best, especially during action-heavy scenes. This efficiency comes from Steven's deep understanding of set logistics, a skill he honed through hands-on experience in his early days. His ability to streamline production and avoid stagnation creates an environment where both creativity and productivity flourish. Filmmaker Robert Rodriguez has expressed similar ideas, highlighting that actors appreciate the pace, and it allows productions to run more smoothly and on schedule and budget.Say yesSteven has directed an impressive number of films, and if you look at his IMDB page, he seems to constantly be working. This is a testament to his “say yes to everything” philosophy. He believes that filmmakers should view every project as a learning opportunity, regardless of whether it's a passion project. Rather than being overly selective, Steven advocates for gaining as much experience as possible by consistently working and completing projects. This mindset is especially important in an industry where opportunities are scarce. While some directors, like Quentin Tarantino, can afford to be hyper-selective about their filmography, Steven stresses that this is the exception, not the rule. For most filmmakers, success comes from viewing the craft as a career, where consistency and experience are key. By saying yes, Steven not only became a better and more reliable filmmaker but also built relationships and gained opportunities to work...

Today we're joined by directing duo Adam Schindler and Brian Netto, the creative minds behind the new horror thriller Don't Move. The guys share how they transformed the universal fear of immobility into a gripping narrative that they ultimately sold to Netflix and discuss what it was like shooting in the Bulgarian wilderness, working with legendary producer Sam Raimi, and how they developed a hauntingly charismatic serial killer played by Finn Wittrock, alongside a powerful and emotionally charged performance by lead actress Kelsey Asbille. Don't Move is now streaming on Netflix.Here are some key takeaways from this conversation with Brian and Adam:Take Breaks.Early drafts of their script didn't work—there was a disconnect between the concept of paralysis and the main character's emotional journey. Rather than forcing a solution, they decided to put the project aside for a while and focus on other things. When they returned to the script with fresh perspectives, they were able to see the story's missing elements more clearly and reapproach it with renewed energy.The takeaway here is don't be afraid to pause: when creativity stalls, putting your project down for a short period can provide the mental clarity and distance needed to spot problems and find solutions. Even if you're not directly working on a project, your brain will subconsciously work on a solution in the background. Patience leads to stronger work: Rushing to force solutions can lead to uninspired results. Instead, embrace the process and trust that time away can lead to breakthroughs.Write a Scalable Script.Brian and Adam intentionally crafted a story that could be produced at varying budget levels, making it adaptable for different production scenarios. This strategy proved invaluable when pitching the project. Whether it became a $1M indie film shot in a handful of locations or a larger studio-backed production with expanded scope, the story's essence and emotional core remained intact and gave them the flexibility to pitch to a wide array of producers.They compared their approach to Beck and Woods who wrote A Quiet Place. When pitching A Quiet Place, Beck and Woods famously intended to shoot their high-concept horror story for $75,000 in their hometown if it didn't sell. By ensuring their script could be executed with minimal resources, the Don't Move team gave themselves the flexibility to proceed regardless of the budgetary constraints. For Don't Move, the scalability made the film an easier sell to partners, such as producer Sam Raimi and Netflix, while also leaving room for creative adjustments based on the final budget.Safety First.One of the most critical lessons the directors learned from Sam Raimi was the importance of prioritizing safety on set. Raimi repeatedly emphasized that it was their responsibility as directors to ensure the well-being of every cast and crew member, whether during stunt work or handling environmental hazards like shooting scenes on a 200-foot cliff or filming complex car stunts. No shot or sequence is worth compromising the safety of cast or crew, and it's the directors' job to uphold this standard at all times.This commitment to safety extended beyond stunts. Through their leadership, the directors fostered an environment where every crew member felt valued and secure, which in turn contributed to a more collaborative and focused set. By prioritizing safety, they set the tone for a productive and respectful creative process.Show NotesMovies Discussed:GravityThe Vanishing (1988)BarbarianSmileFollow Brian Netto at:IMBd:

Today we're joined by indie filmmaker and casting director David Guglielmo, who recently wrapped his latest film, Love Bomb. David shares his journey of directing a script written specifically for him by friend and screenwriter Kathy Charles. We explore the creative challenges of transforming an erotic thriller into a dark comedy with shades of Scorsese's After Hours, and how he crafted surreal, Lynchian tones to set the film apart.David also dives into the real-world setbacks he faced on set, from revoked permits to floods, and how quick thinking and flexibility helped keep the production afloat. With insights on casting, creating a cohesive tone, and making the most of ultra-low budgets, David gives us a masterclass on indie filmmaking survival. This is David's second time on the show so if you want more of his origin story be sure and check out Episode 11.Here are some key takeaways from this conversation with David Guglielmo.Flexibility on Set is Crucial:David emphasized the importance of adaptability because he was forced to embody this to an extreme degree. When a neighbor caused their permit to be revoked, the production team had to pivot from a night shoot to a day shoot. Instead of panicking, David calmly rewrote scenes and embraced the changes, which ultimately added an interesting surreal vibe to the film. David has been on a lot of sets and faced a lot of setbacks, so his adaptability is very fluid—to the point where not only does he roll with the punches, but he also finds ways to make the setbacks work in his favor. This is like black belt-level directing. Best laid plans can come crashing down at any moment, which is why it's critical to not only be resilient in the face of obstacles but to embrace them.Stay Tuned In:David noted that when directing, it's important to remain tuned into the frequency of the project. This may sound metaphysical, but well-crafted movies have a specific frequency—whether you want to call it a tone, a spirit, or an energy, it's foundational to the movie. As you go through the inevitable setbacks and sacrifices that come with filmmaking, it's critical to remain tuned into that frequency because it can guide your decisions in favor of the movie. David also recommends making films that reflect your distinct sensibilities and experiences rather than chasing trends or formulas.Invest in Crew Happiness:Having made several ultra-low-budget films, when asked where filmmakers can afford to cut costs and where they should invest, David stresses that the well-being of the crew should never be compromised. A happy, motivated crew can make a significant difference in the film's final outcome and your overall experience directing. The key to this is building a strong sense of camaraderie on set, which starts with transparency: letting the crew know exactly what they're signing up for and setting realistic expectations from the jump. By doing so, you attract team members who are passionate about the project rather than just in it for the paycheck. David also believes in giving less experienced but talented crew members their first major opportunities, creating a collective enthusiasm and a willingness to go the extra mile.Show NotesMovies & InspirationsLove Bomb (David Guglielmo's latest film)Castle Freak (remake, written by Kathy Charles)Jacob's WifeAfter HoursGone GirlThe Hand That Rocks the CradleDressed to KillBlow OutBody DoubleDeath ProofIt FollowsUnder the Silver LakeBooksCatching the Big Fish by David...

Cooper Roberts is an editor and director who just released his feature debut, All You Need is Blood—a delightfully gory tribute to Amblin-esque coming-of-age movies and zombie films. Cooper's background includes experience in advertising and music videos, and most notably, he was nominated for a Grammy Award in 2016 for co-directing the music video for Jack White's band, The Dead Weather, and their song “I Feel Love.”All You Need is Blood is a movie I really want to shout from the rooftops for more people to see. It's a love letter to childhood dreams of filmmaking and zombie movies and is full of charm and blood in equal measure. The effects are also awesome, and the movie is hilarious—I urge you to see it and tell your friends. All You Need is Blood is available to stream on the KINO app, which you can download today.In this conversation with Cooper we dig into the 6 plus year journey of bringing AYNIB to fruition, the challenges of relying on practical effects on indie movies and why casting is one of the most important elements of directing.Here are some key takeaways from this conversation with Cooper Roberts.80% of Directing is CastingCooper cited a famous quote, commonly attributed to Elia Kazan, that directing is 80% casting. For this reason, he paid close attention to the casting process and took his time finding the right people, which tremendously helped bring the characters—and therefore the film—to life. Cooper noted that casting actors who naturally embody the character makes directing them much smoother and more intuitive. Casting actors outside their usual genres can also yield surprising performances, as audiences respond well to seeing familiar faces in unexpected roles, as was the case with Mina Suvari playing a comedic role, which brought a fresh, unexpected dimension to the film.Never underestimate good old cold outreach.With few industry connections, Cooper turned to IMDb Pro to cold-email indie producers. Out of a hundred emails, he connected with several promising candidates and eventually found a committed team. A lot of would-be filmmakers wait to be discovered or think it's the responsibility of an agent or manager to get their movies moving forward, but it's all on you. Even if you don't have representation, just reach out to people. Cold outreach might seem daunting, but when executed well, it can be highly effective in finding partners and funding resources.Build a ‘Brain Trust' for Script FeedbackWhile writing the script for All You Need is Blood, Cooper sought to create his own ‘brain trust' of script consultants and friends for feedback during the writing process, which he modeled after Pixar. Although he didn't take all the notes, he found the input invaluable, as even a "bad" note could highlight a weak spot in the story. He noted Stephen King's advice from On Writing—if multiple people give similar feedback on a section, it's worth reevaluating. It is very easy to fall in love with your own voice and be blind to glaring issues in your script because you're just too close to it to be objective. This is why it's crucial to have trusted advisors and confidantes who can help you mold your projects. For more on Brain Trusts, I highly recommend Creativity Inc. by Ed Catmull, which outlines how Pixar was founded and how they operate to this day with a large emphasis on storytelling. Also, shoutout to script consultant Carson Reeves—Cooper and I both worked with him, and I can tell you he's great. Check out Carson at https://scriptshadow.net.Show NotesMovies Mentioned:Dead Alive (Braindead)Toy Story 3Toy Story 4American...

Today, we're celebrating a special milestone—the 10th anniversary of The Babadook— with director, Jennifer Kent. The Babadook was Jennifer's feature debut and has since become an iconic classic and one of the GOATs of horror.Jennifer has been recognized for her ability to craft horror with heart, making audiences not only tremble but also reflect deeply on the emotional struggles at the core of her stories. Her follow-up film, The Nightingale, is a brutal yet emotionally resonant tale of revenge set in 1820s Tasmania. And Jennifer also wrote and directed The Murmuring for Guillermo del Toro's Cabinet of Curiosities anthology series on Netflix. The episode starred The Walking Dead's Andrew Lincoln and reunited her with Babadook star Essie Davis.The Babadook is back in theaters starting today, through Sunday, September 22nd so be sure to check your local listings and catch it on the big screen!This episode feels like years of film school in 45 minutes as Jen offers a wealth of insights and lessons and I can honestly say, this is my favorite interview I've ever done of the Nick Taylor Horror Show and definitely the most insightful.We dive into Jennifer's journey, from her early career as an actress to transitioning into filmmaking under the mentorship of Lars von Trier as well as her creative process, how she approaches working with actors, and how she brings terrifying visions to life through practical effects, meticulous sets and sound design. We'll also discuss what makes The Babadook so enduring, the power of horror as a storytelling tool and much much more.There are three big topics we did not cover in this interview because Jennifer has spoken at length about them in previous interviews so I will cover these really quickly up front.Number One: The Babadook as a Queer Icon. A Netflix glitch mistakenly categorized The Babadook under the LGBTQ+ genre causing an outpouring of memes parodying the error. But, what began as an online joke morphed into something meaningful for the queer community as powerful metaphors emerged. In The Babadook, the monster symbolizes repressed emotions and trauma and many in the queer community saw parallels between this and the experience of repressing one's identity. The film's message of embracing and living with one's inner "monster" instead of destroying it is also seen as a metaphor for self-acceptance. Furthermore, The Babadook can be seen as a "destroyer of families," which parallels and parodies certain rhetoric about queerness being a threat to traditional family structures and in one scene the Babadook literally emerges from a closet.Number Two, the possibility of a Babadook Sequel: Jennifer has been very clear that there will never ever be a sequel to The Babadook. She made sure to retain the rights to any sequels and said she will never allow one to be made. To her, The Babadook is a film that stands alone, and a sequel would destroy its integrity.Number Three: Did Amelia Write the Babadook book?: This topic has been speculated by fans and even raised on The Last Drive-In with Joe Bob Briggs. It's revealed that Amelia used to write children's books, so it would make sense that she created the Babadook book as a form of coping with her trauma. Jennifer has said that this was intended but never said outright which allows for multiple interpretations. I personally think she did write the book.Alright, before we get to the interview, I owe a huge thank you to the team at IFC, specifically Danielle Freiberg and Rob Scheer for their support in making this happen. I've wanted to chat with Jen since I started this podcast and this interview was a treat and an honor and I thank you both truly. Without further ado, here is Jennifer Kent, Director of The...

Hey everyone, back with another monthly episode of The Howl, a new concept where me and my cohost Adam Cruz summarize and discuss the past month's horror news, share what we've watched recently, and just generally nerd out over all things horror.Our goal with The Howl is to catch listeners up with all of the horror news they may have missed from the past month in a fun, conversational format. If you want a quick-read version of The Howl sent directly to your inbox every month, then sign up for my monthly newsletter at nicktaylor.com/thehowl.So to recap, The Howl is all about catching you up on what's happening in horror, delivering some solid movie recommendations, and hopefully entertaining you at the same time. These episodes also have a video component, so feel free to check us out at The Nick Taylor Horror Show YouTube channel as well.So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on a new monthly segment we're calling The Howl.SHOW NOTESMovies Discussed:BeetlejuiceYou Should Have Left (2020)Jennifer's BodyVivariumAlien: RomulusPredator vs AlienEvil Dead (Remake)PrometheusTexas Chainsaw Massacre (2022)Wolf CreekHell of a Summer (Upcoming)CuckooThe BabadookShaun of the DeadDeliverance (New Lee Daniels film)Red DragonManhunterHannibal (2001)TV Shows:Stranger ThingsHannibalBooks:The Shining by Stephen KingPet Sematary by Stephen KingThe Exorcist by William Peter BlattyDirectors:Zoe Kravitz (Mentioned for directorial debut)Lee DanielsFede Alvarez (Alien: Romulus, Texas Chainsaw Massacre)Mick Garris (The Shining TV adaptation)Follow Adam Cruz at:Instagram https://www.instagram.com/murdermemes_TikTok: https://www.tiktok.com/@murdermemes_Store: www.murdermemes.shopFollow Nick Taylor at:Instagram: https://www.instagram.com/nicktaylorhorrorshow/TikTok: https://www.tiktok.com/@nicktaylorhorrorshowYouTube: https://www.youtube.com/@NicktaylorhorrorshowWebsite: www.nicktaylor.com

Adam Egypt Mortimer is an American filmmaker, Producer and graphic novel writer. Originally from Boston, Adam kicked off his directing career with Some Kind of Hate in 2015 and followed that up with 2019's Daniel Isn't Real and 2020's Arch Enemy.But Adam doesn't stop at films; he's also ventured into comics, co-creating series like Ballistic and Black Star Renegades. In this episode Adam opens up about his journey. We chat about facing personal fears as a director, easing the pressure when making your first film, and staying adaptable when shit goes sideways on set.Adam shares his thoughts on enjoying the filmmaking process, keeping your passion alive, the importance of continuous learning, and even some of his favorite horror deep cuts. Adam delivers an incredibly insightful and candid interview, and I got a lot of advice as well as reassurance from this conversation. I hope you enjoy it as much as I did. Please welcome, Adam Egypt Mortimer.Here are some key takeaways from this conversation with Adam Egypt Mortimer:Identify and address your anxieties. Filmmaking demands a wide range of skills, as Sidney Lumet emphasizes in his book Making Movies. Directors need to be renaissance people, well-versed in everything from art and psychology to music and literature. It can be overwhelming to juggle these diverse disciplines, but an effective director has to recognize their weaknesses and actively work on them. For Adam, working with actors was a major source of insecurity, so he made it a priority to study Judith Weston's work to improve in that area before approaching his first movie.Depressurize your first film. There's a common belief that your first film needs to be a masterpiece like Reservoir Dogs, Blood Simple, or Brick. However, Adam argues that this pressure can harm you creatively and cause your movie to suffer. He suggests accepting from the outset that your first film will have flaws, and that's okay. Instead of aiming for perfection, focus on proving to yourself and the world that you can complete what you start. By alleviating some of the pressure, you allow yourself more creative freedom and ultimately will make a better film.Adapt at a Darwinian level. Adam's story about a lead actor falling ill on a crucial production day is a powerful example of adaptability. When faced with this setback, he intentionally avoided panicking and instead saw it as an opportunity to create something new. He reassured himself and his crew that this disaster could lead to an opportunity to make a scene that was even better than was originally planned in the script. While this mindset might seem like wishful thinking, it underscores the level of strength and resilience you'll need to develop as as a director because shit will happen—you need to not only handle it but use it to your advantage.Relax and enjoy the journey. Reflecting on his career, Adam wishes he could tell his younger self to enjoy the process more. Making movies takes time, effort, and a bit of luck, so it's crucial to relax and give yourself the space to do it right. He specifically mentioned that he would encourage his younger self to not be so hard on himself and to watch more cool French movies. The message is clear: whatever inspires you, make time for it, and remember to enjoy the journey that led you to fall in love with cinema in the first place.Show NotesMovies:Some Kind of HateDaniel Isn't RealArch EnemyBad Day at Black RockEasy Riders, Raging BullsThe ExorcistPersonaFight ClubAlienVideodromeBride of FrankensteinMartyrsPossessionBugKiller...

Joe Stephenson is a British director who made his feature directorial debut with the 2015 film Chicken. His second film was the acclaimed 2018 documentary McKellen: Playing the Part about the life and career of Sir Ian McKellen. Joe's third film is, Doctor Jekyll, an adaptation of Dr Jekyll and Mr. Hyde starring Eddie Izzard from Hammer Films.In this episode, Joe and I delve into the process of reimagining a classic horror story with a modern twist, working with the legendary Eddie Izzard, as well as the past, present and future of Hammer Films. We also get into the many challenges of shooting on a tight budget, how to select locations when shooting in one location, and the hurdles Joe overcame, including epic storms and COVID-19.Here are some key takeaways from this conversation with Joe Stephenson.Improvisation Can be MagicalJoe's approach to directing Doctor Jekyll focused on creating an environment where actors could infuse their own creativity into their performances, especially with the movie's star, Eddie Izzard, whose improvisational skills added a unique energy to the character and film. Joe enabled improvisation by first having the actors perform the scenes exactly as they were written in the script, ensuring that they had a solid, reliable version in the can. Only after that was done did he encourage the actors to experiment with their lines and actions, exploring different ways of delivering the scene. This approach gave the film the best of both worlds: a faithful representation of the script and the discovery of new, spontaneous moments. This is a great approach, especially when working with megawatt talents like Eddie Izzard, who can bring more to the scene than is in the script.Find Unique LocationsJoe wanted a location that hadn't been overexposed in other films, and Stanford House near Rugby, UK, provided the perfect setting with its distinctive and untouched appearance, adding to the film's uniquely creepy atmosphere. Shooting in a single location like Stanford House offered multiple benefits. The house's grand, eerie presence played a significant role in setting the film's tone and allowed for visual consistency. Joe also housed the actors on-site, which helped them immerse themselves even more deeply in their roles and the movie's tone.Directing is Problem SolvingThe production of Doctor Jekyll faced numerous unforeseen challenges, from weather issues to the impact of COVID-19. Dealing with the unpredictable English weather forced the crew to constantly adjust their shooting schedule, including canceling a crane shoot due to a severe storm. COVID-19 added another layer of complexity. When the film's gaffer tested positive, a replacement had to be brought in who hadn't worked with the DOP before, disrupting the established workflow and adding stress to an already tight schedule. These challenges, coupled with budget constraints, meant the production was under constant pressure. However, Joe's ability to stay calm and adaptive helped keep the film on track. As my guests have illustrated time and time again, most of filmmaking comes down to being adaptable and resilient, as things will inevitably go wrong, especially on low-budget movies.SHOW NOTESMovies:Doctor JekyllChickenGreat ExpectationsMidas ManBooks/Novellas:Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis StevensonFollow Joe Stephenson at:Instagram: www.instagram.com/joestephenson/X (Twitter):

Hey everyone, back with another monthly episode of The Howl, a new concept where me and my cohost Adam Cruz summarize and discuss the past month's horror news, share what we've watched recently, and just generally nerd out over all things horror.Our goal with The Howl is to catch listeners up with all of the horror news they may have missed from the past month in a fun, conversational format. If you want a quick-read version of The Howl sent directly to your inbox every month, then sign up for my monthly newsletter at nicktaylor.com/thehowl.So to recap, The Howl is all about catching you up on what's happening in horror, delivering some solid movie recommendations, and hopefully entertaining you at the same time. These episodes also have a video component, so feel free to check us out at The Nick Taylor Horror Show YouTube channel as well.So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on a new monthly segment we're calling The Howl.SHOW NOTESMovies:MaxineLong LegsSilence of the LambsSinisterPhantasmDespicable Me 4House of the DevilThe SacramentPiecesThe ProwlerThanksgiving (original trailer)TV Shows:HannibalDirectors:Ty WestBrian De Palma (references: Body Double, Blow Out, Dressed to Kill)Actors:Nicholas CageKevin BaconGiancarlo EspositoBobby CannavaleAdditional References:Jonestown (referenced in The Sacrament)Boogie Nights (influential for "X")Texas Chainsaw Massacre (influential for "X")Follow Adam Cruz at:Instagram https://www.instagram.com/murdermemes_TikTok: https://www.tiktok.com/@murdermemes_Store: www.murdermemes.shopFollow Nick Taylor at:Instagram: https://www.instagram.com/nicktaylorhorrorshow/TikTok: https://www.tiktok.com/@nicktaylorhorrorshowYouTube: https://www.youtube.com/@NicktaylorhorrorshowWebsite: www.nicktaylor.com

Alejandro Brugués is an Argentinian-Cuban director and writer known for directing Juan of the Dead, which is credited as Cuba's first zombie movie. He made his directorial debut with the 2006 film Personal Belongings and directed the segment The Thing in the Woods in the anthology horror film Nightmare Cinema from Mick Garris, as well as a segment for ABCs of Death 2.Alejandro's latest movie is The Inheritance, a horror thriller that revolves around a wealthy patriarch who devises a twisted scheme to prolong his life through a sinister game of manipulation with his own children.Joe Russo is a dear friend, consistent guest on the show, three-time BloodList writer, producer, and director known for The Au Pair Nightmare, which he directed, Hard Kill, which he wrote, and as a producer on Nightmare Cinema, The World's Greatest Beer Run, and of course, The Inheritance, which he produced and co-wrote.In this episode of The Nick Taylor Horror Show, I speak to Joe and Alejandro about the making of The Inheritance, which was a multi-year labor of love riddled with challenges. We get into everything from their multi-year collaborative relationship, the movie's influences, hair-raising production challenges, and how adaptability and resourcefulness are crucial for getting your movies made.Here are some key takeaways from this conversation with Joe and Alejandro.The Door Never Opens the Right Way. Filmmaking is rife with unexpected challenges and setbacks, humorously summarized by Alejandro when he recalled how a 400-pound door was installed to open in the wrong direction. This illustrates that on set, problems are inevitable: set pieces won't work as planned, locations will change at the last minute, props will malfunction, and actors will break down. This movie experienced more than its fair share of problems, including restrictive COVID protocols, unexpected location changes, and losing their distributor. Understanding that these issues are a natural part of filmmaking can help maintain a positive and proactive attitude on set. Both Joe and Alejandro highlighted the importance of being flexible and creative in problem-solving on set.Keep a shot list and a shit list. In addition to a shot list, Alejandro keeps a list of everything that could go wrong on a particular day with every single shot and mentally prepares for those scenarios. Preempting problems is crucial for staying on schedule and maintaining quality under pressure. The ability to get ahead of any technical, acting, or camera problems that can occur with your shots will develop your problem-solving skills and enable your resilience as a director.Storyboard with Action Figures. Alejandro uses action figures in pre-production and on set to visualize and stage scenes. This technique helps him communicate his vision clearly to the cast and crew and even test out blocking. Not everyone can draw storyboards, but it's essential to figure out how to visually communicate your ideas effectively. Whether it's through action figures, detailed sketches, or digital tools, find what works best for you and stick to it without shame.Show NotesMovies:Evil DeadKnives OutHouse on Haunted HillReady or NotThiefThe Fall of the House of UsherBooks:"Making Movies" by Sidney LumetTV Shows:The Walking DeadSuccessionFollow Joe Russo at:Instagram: https://www.instagram.com/joerussogramX (Twitter): https://x.com/joerussotweetsWebsite:

Hey everyone, back with another monthly episode of The Howl, a new concept where me and my cohost Adam Cruz summarize and discuss the past month's horror news, share what we've watched recently, and just generally nerd out over all things horror.Our goal with The Howl is to catch listeners up with all of the horror news they may have missed from the past month in a fun, conversational format. If you want a quick-read version of The Howl sent directly to your inbox every month, then sign up for my monthly newsletter at nicktaylor.com/thehowl.So to recap, The Howl is all about catching you up on what's happening in horror, delivering some solid movie recommendations, and hopefully entertaining you at the same time. These episodes also have a video component, so feel free to check us out at The Nick Taylor Horror Show YouTube channel as well.So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on a new monthly segment we're calling The Howl.SHOW NOTESMoviesMaXXXineLong LegsA Quiet Place: Day OneThe Pope's ExorcistLate Night with the DevilExhumaSatan Slaves: CommunionMay the Devil Take YouMay the Devil Take You 2BagheadFuriosaThe ShallowsUnder ParisJaws47 Meters DownTuskResident Evil (George Romero's version)Jaws 2Jaws 3DJaws 4: The RevengeLeague of Extraordinary GentlemenHansel and Gretel: Witch HuntersTV ShowsThe Exorcist (TV series)American Horror StoryHannibalDexterPenny DreadfulServantFromChucky (TV series)Courage the Cowardly DogResourcesThe Innocence ProjectDevelopment Hell Podcast (Dread Central)Residents of Evil YouTube ChannelFollow Adam Cruz at:Instagram https://www.instagram.com/murdermemes_TikTok: https://www.tiktok.com/@murdermemes_Store: www.murdermemes.shopFollow Nick Taylor at:Instagram: https://www.instagram.com/nicktaylorhorrorshow/TikTok: https://www.tiktok.com/@nicktaylorhorrorshowYouTube: https://www.youtube.com/@NicktaylorhorrorshowWebsite: www.nicktaylor.com

Joe Russo and Mark Gantt are the team behind Soul Mates, a horror romance that explores the complexities of modern relationships through a matchmaking service that spirals into darkness. Joe was the producer with Mark directing. Joe Russo is a three-time BloodList writer, producer and director known for The Au Pair Nightmare, which he directed, Hard Kill, which he was a writer on, and as a producer on Nightmare Cinema, The World's Greatest Beer Run and the upcoming horror thriller, The Inheritance.Mark Gantt is an actor, director, producer, and writer recognized for acting work on The Bannen Way, Criminal Minds, American Horror Story: Hotel, and Dexter. Mark has also directed multiple features including A Deadly Price For Her Pretty Face and Secret Life of a Celebrity Surrogate.In our conversation, Joe and Mark delve into the inspiration behind the film, the creative process, and the challenges faced during production. They also discuss the film's commentary on modern dating, the importance of not being an asshole in the industry, and the serendipitous real-life romance that developed on set.Here are some key takeaways from this conversation with Joe and Mark.Write about real fears and anxieties. Joe and his writing partner Chris channeled their fears of online dating into the script for Soulmates. If you're afraid of something or have a societal observation, chances are lots of other people feel the same way. Eli Roth always uses his own fear as the foundation for his movies, which makes them viscerally relatable and therefore effective horror. They also balanced the movie by incorporating the absurdity of reality dating shows to create a unique horror/humor experience.Movie karma is very real. A key person on this movie was the talent agent that Joe and Mark worked with who was Joe's old intern. This agent championed the movie within the agency and landed them a killer cast. The agent's positive working relationship with Joe greatly helped this. Joe emphasized the importance of treating everyone well in the industry, as today's assistant could be tomorrow's studio executive. No matter who you're interacting with, maintain professional and respectful relationships. Be nice, and be kind. Not just because they could gain more stature later on, but because it's the right thing to do.Your determination must be dogged. "Soulmates" took 14 years from conception to completion, going through multiple rewrites and producers. In the end, the movie got greenlit but the trouble didn't stop there as the team faced major setbacks, such as an actor's emergency surgery, but through it all the production persisted through strong problem-solving, support from producers, and good old grit. Stories like this are typically the rule, not the exception, in filmmaking. Guillermo Del Toro said the natural state of a movie is for it to not get made, so you as a filmmaker must be a force both in terms of determination and resilience.Follow Joe Russo at:Instagram: https://www.instagram.com/joerussogramX (Twitter): https://x.com/joerussotweetsWebsite: https://joerussofilm.com/IMBd: https://www.imdb.com/name/nm2349665/Follow Mark Gantt at:Instagram: https://www.instagram.com/markgantt/X (Twitter):

Hey everyone, back with another monthly episode of The Howl, a new concept where me and my cohost Adam Cruz summarize and discuss the past month's horror news, share what we've watched recently, and just generally nerd out over all things horror.Our goal with The Howl is to catch listeners up with all of the horror news they may have missed from the past month in a fun, conversational format. If you want a quick-read version of The Howl sent directly to your inbox every month, then sign up for my monthly newsletter at nicktaylor.com/thehowl.So to recap, The Howl is all about catching you up on what's happening in horror, delivering some solid movie recommendations, and hopefully entertaining you at the same time. These episodes also have a video component, so feel free to check us out at The Nick Taylor Horror Show YouTube channel as well.So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on a new monthly segment we're calling The Howl.SHOW NOTESMovies Mentioned:The OmenGodzilla Minus OneThe Blair Witch ProjectThe Strangers: Chapter OneTarotLisa FrankensteinWatchersNight of the DemonsFright NightDexter (series)MalignantSpeak No EvilRevengeTerrifier 3TV Shows Mentioned:RatchedWhat We Do in the ShadowsBooks Mentioned:Dexter series by Jeff LindsayOther Media:Shadow of the Colossus (video game)Follow Adam Cruz at:Instagram https://www.instagram.com/murdermemes_TikTok: https://www.tiktok.com/@murdermemes_Store: www.murdermemes.shopFollow Nick Taylor at:Instagram: https://www.instagram.com/nicktaylorhorrorshow/TikTok: https://www.tiktok.com/@nicktaylorhorrorshowYouTube: https://www.youtube.com/@NicktaylorhorrorshowWebsite: www.nicktaylor.com

Welcome to the Nick Taylor Horror Show!As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much, much more.Today's guest is Charlie Saroff, a cinematographer who has quickly established himself as a powerhouse in the horror genre.Charlie's breakout work on Natalie Erika James' Relic garnered widespread acclaim for its haunting atmosphere and masterful visual storytelling. This success led to his collaboration with Parker Finn on Smile and his upcoming work on the Smile sequel.In today's episode, Charlie and I dive deep into the craft of horror cinematography, and strategies for creating tension and fear through visuals. We also get into his keys for successful collaborations between directors and DPs and Charlie shares valuable advice for filmmakers looking to enhance their overall visual storytelling skills.Here are some key takeaways from this conversation with Charlie Saroff:Utilize Misdirection. Scares often rely on the element of surprise. When crafting shots that elicit fear or tension, use decoys and misdirection to direct the audience's attention in one direction so you can surprise them from another. This is largely achieved through composition and lighting. This relies on the principle that what the audience doesn't see is as important as what they do see. By manipulating their expectations, you can create a more impactful scare. For example, using dark corners or areas of the frame to hint at something lurking just out of sight can build suspense and heighten the eventual reveal. This, of course partially relies on editing but starts with what's on screen.Plan but Be Flexible. Charlie says that no matter how much you plan at best 90% of it will go right while the other 10% will be complete chaos. It's important to put yourself in a position to leverage that chaos. Thorough prep with shot lists and storyboards is crucial, however, it's equally important to remain open to spontaneous opportunities that arise on set. David Lynch advocates for being fully present on set to recognize and maximize visual opportunities that present themselves serendipitously. While planning ensures you have a roadmap and backup plan, being flexible allows you to adapt to the changing dynamics of a scene, which can often lead to unexpectedly brilliant shots.Test your gear, test your look. Testing is crucial to understand how different lenses and cameras perform under various conditions and to ensure consistency in your film's visual style. Charlie conducts thorough camera and lens tests to determine the best equipment and experiment with different desired looks and uses the results to determine which gear to use before he makes his final selection. He will even go so far as to test out how different paint colors read with different lenses and cameras. This thorough testing process ensures the film's visual consistency and quality.Follow Charlie Sarroff at:IMDb ProfileInstagramWebsiteX (Twitter)Vimeo

Welcome to the Nick Taylor Horror Show!As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much much more.Francis Galluppi is the director of The Last Stop In Yuma County, a southern-fried, hard-boiled crime thriller that plays within the traditions of Tarantino, The Cohen Brothers, Taylor Sheridan, and Elmore Leonard while still establishing a feel and style all its own. I loved this movie - it's a fun, lean and mean piece of cinema bolstered by an incredible ensemble cast including Richard Brake, Jim Cummings, Jocelin Donahue, Barbara Crampton and many more.The Last Stop in Yuma County is Francis' feature debut and the film caught the eye of Sam Raimi and ultimately led to Francis being handed the reins of an upcoming installment in the Evil Dead franchise which is really awesome news.Prior to Last Stop in Yuma County, Francis' short film High Desert Hell, won several awards, including the Wes Craven Award at the Catalina Film Festival in 2019 while his followup, The Gemini Project, won Best Science Fiction/Fantasy Short Film' at the Burbank International Film Festival in 2020.In this conversation, Francis and I get into the grueling story behind the making of Last Stop in Yuma County, which was a four plus year labor of love involving blood, sweat, tears, and mortgaged houses. This is an excellent account of true indie filmmaking, the importance of preparation, working with an all-star cast, and never giving up. I owe a big thank you to my friend David Guglielmo for putting me in touch with Francis, thank you David. Now, please enjoy my conversation with Francis Galluppi.Prepare Extensively: Preparation was crucial to Francis' process, and his level of prep was extensive and very impressive. Every shot was meticulously storyboarded and diagrammed with detailed blocking directions made months before production began. Ultimately, this prep enabled him to achieve complex and high-production value work on a relatively low budget. Francis also engaged in extensive conversations with the actors, fully fleshing out the script and characters and every line of dialogue over zoom. By the time everyone arrived on set, the team was well-prepared to hit their marks which is critical on a lower budget. Francis' process demonstrates that there's no such thing as over-preparing. All of this ensured a fairly smooth production and Francis' ability to pivot when things went wrong.Set a Deadline and Make It Happen: Francis stresses the importance of setting a hard deadline and committing to it. Waiting for perfect conditions or resources can delay or prevent the realization of a project. He emphasizes the importance of prepping before you're greenlit, which may seem counterintuitive to filmmakers hesitant to invest time in a project that may not happen. However, extensive preparation increases the likelihood of your film coming to fruition. This preparation not only creates a sense of reality and momentum for your project but also impresses producers and investors, making your project appear more tangible and ready to go and ultimately easier to greenlight.Edit Your Own Work. Francis quickly mentioned that early on directors should edit their own work because doing so is a valuable learning experience. It forces you to confront your mistakes and understand what works and what doesn't about your shooting style and directorial capability. Being able to be objective at this level will ultimately make you a better...

Hey everyone, welcome back to The Howl, our monthly segment where my cohost Adam Cruz and I break down the latest horror news, share what we've been watching, and just generally geek out over everything horror.The Howl is all about giving you a comprehensive yet entertaining look at what's happening in the world of horror, providing top-notch movie recommendations, and delivering a dash of humor along the way. If you want more of The Howl in your life, be sure to sign up for my newsletter at nicktaylor.com/thehowl, where you'll get a quick-read version sent right to your inbox every month.As always, we'd love to hear from you on what you enjoy, what you'd like to see more of, or any other feedback you have to help us refine this segment. Plus, if you prefer a visual experience, check out The Nick Taylor Horror Show YouTube channel for the video version of these episodes.So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on this month's episode of The Howl.SHOW NOTES:Follow Adam Cruz at:Instagram https://www.instagram.com/murdermemes_/TikTok: https://www.tiktok.com/@murdermemes_Store: www.murdermemes.shopFollow Nick Taylor at:Instagram: https://www.instagram.com/nicktaylorhorrorshow/TikTok: https://www.tiktok.com/@nicktaylorhorrorshowYouTube: https://www.youtube.com/@NicktaylorhorrorshowWebsite: www.nicktaylor.comMovies Mentioned:Hereditary MartyrsHenry: Portrait of a Serial KillerLast House on the LeftPoor ThingsLate Night with the DevilReady or NotMonkeymanUniversal Monster MoviesRenfieldThe Last Voyage of the DemeterDracula (Nosferatu)In the Mouth of MadnessGuillermo del ToroKilling of a Sacred DeerOmen Prequel (Immaculate)Satanic HispanicsBagheadServant (Apple TV Show)

Andrew Lobel is the screenwriter behind one of this year's breakout horror hits, Immaculate. His journey to bring Immaculate from script to screen is a serious story of endurance and passion—it took 10 years from Andrew's first draft for it to emerge into theatres. In this episode, Andrew dives into his origin story, writing process, and the saga of transforming Immaculate from a script into a fully realized film. Please give it up for Andrew Lobel. Here are some takeaways from this conversation with Andrew Lobel:Be patient and play the long game. Immaculate took 10 years from script to screen and emerged as one of the standout horror successes of the year. Andrew kept the project alive by constantly entertaining offers and conversations about the work, never fully giving up even in the face of repeated setbacks. Throughout this decade-long process, Andrew encountered numerous challenges, including a changing cast and fluctuating interest from producers. However, he never lost sight of his vision for the film. When Sydney Sweeney, who had auditioned for the movie early in her career, reached new levels of fame, her renewed interest and subsequent attachment to the project provided the momentum needed to finally bring Immaculate to life. This persistence underscores the importance of resilience and long-term commitment in the unpredictable world of filmmaking.Be an adaptable collaborator. Andrew's commitment to adaptability played a crucial role in this ultimate success. Again and again, he reshaped his script to align with the vision of attached collaborators, demonstrating an unwavering dedication to the project and his team. It's easy for writers and creatives to fall into the trap of clinging too tightly to their original work, resisting feedback or necessary changes. This can be a major misstep. Filmmaking thrives on collaboration, and films also change shape a lot before they're finished so being adaptable is the name of the game.Always make a favorable impression. Andrew's initial interactions with Sydney Sweeney during the initial casting of Immaculate left a significant and positive impression on her early in her career. Even after the project was initially shelved, the favorable experience and professional respect she held for Andrew and the project persisted. This enduring connection enabled the revival of the film years later when Sydney's career had reached new heights. Andrew's ability to create a memorable and positive experience during their initial collaboration highlights the importance of professionalism and rapport in filmmaking, which can lead to fruitful opportunities long after the first meeting.SHOW NOTESMovies:ImmaculateEuphoriaWhite LotusAnyone But YouEverything SucksVoyeursTV Shows:Handmaid's TaleBooks:Save the Cat by Blake SnyderThanks for listening, don't forget to subscribe today!

Hey everyone, back with another monthly episode of The Howl, a new concept where me and my cohost Adam Cruz summarize and discuss the past month's horror news, share what we've watched recently, and just generally nerd out over all things horror.Our goal with The Howl is to catch listeners up with all of the horror news they may have missed from the past month in a fun, conversational format. If you want a quick-read version of The Howl sent directly to your inbox every month, then sign up for my monthly newsletter at nicktaylor.com/thehowl.So to recap, The Howl is all about catching you up on what's happening in horror, delivering some solid movie recommendations, and hopefully entertaining you at the same time. These episodes also have a video component, so feel free to check us out at The Nick Taylor Horror Show YouTube channel as well.So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on a new monthly segment we're calling The Howl.SHOW NOTES:Follow Adam Cruz at:Instagram https://www.instagram.com/murdermemes_/TikTok: https://www.tiktok.com/@murdermemes_Store: www.murdermemes.shopFollow Nick Taylor at:Instagram: https://www.instagram.com/nicktaylorhorrorshow/TikTok: https://www.tiktok.com/@nicktaylorhorrorshowYouTube: https://www.youtube.com/@NicktaylorhorrorshowWebsite: www.nicktaylor.comMovies Mentioned:Invisible Man (Blumhouse)VideodromeChopping MallThe FlyScannersThe BroodInfinity PoolPossessorMute WitnessWolfOne Flew Over the Cuckoo's NestEvil Dead (2013)Night of the Living Dead (remake)HouseHalloweenStarship TroopersFive Easy PiecesCool Hand LukeThe BurbsFrightenersTourist TrapThe Island of Dr. Moreau (1996 version)The Texas Chainsaw Massacre: The BeginningThe Nightmare on Elm Street (remake)Friday the 13th (remake)The Hills Have Eyes (remake)The Last House on the Left (remake)LeatherfaceThe WolfmanLittle Shop of Horrors (original and remake)American BeautyBlowoutDressed to KillGhostChild's PlayScream seriesImmaculateSt. MaudSt. AgathaLate Night with the DevilLove Lies BleedingMonkey ManDream ScenarioThanks for listening! Don't forget to subscribe. To get a monthly newsletter of all of your horror news streamlined into a quick-read email visit www.nicktaylor.com/thehowl

Today, we welcome Josh Forbes to the podcast, director of Destroy All Neighbors. This is a gleefully fun movie that feels as inventive as it is unhinged. It's the kind of movie that I'm feeling really good about seeing more of because it's completely original. This is Josh's second feature after his debut Contracted Phase 2 and I think he's really made a serious statement; the energy, attitude, fun and bonkers practical effects make this a very fun movie. The movie starred Jonah Ray with a very hilarious performance by Alex Winter and special effects by Bill Corso and Gabe Bartalos of Basket Case Fame. In this interview Josh gets into the making of Destroy All Neighbors from the conception of the idea, to his attachment as director, raising funds and more as well as the current state of cinema that enabled something this original to get made. Don't forget to check out Destroy all Neighbors, now streaming on Shudder, and in the meantime, please enjoy this conversation with Director, Josh Forbes. Take inventory of awesome things you have access to.This is a common one, take inventory of everything you have access to and fashion your movie out of that. Production value is so critical, and often so expensive. Maximize your movie by taking an inventory of what you have access to and writing your script around it. If you have a friend with a boat, that boat should be in your movie. A friend who owns a pig, in the case of Josh, a pig should be in the movie. This is exactly what Robert Rodriguez did with El Mariachi and Kevin Smith with Clerks.Use practical effects.Practical effects, never went away, but still somehow feel like they're having a second heyday which is awesome. The thing about practical effects is that the community is very very passionate and despite having a low budget, Josh was able to get some very heavy hitters like Bill Corso and Gabe Bartolos on board simply because the project looked fun. Similarly when he did Mortuary Collection, Ryan Spindell was able to get Tom Woodruff Jr. and Alec Gillis from ADI on board despite a relatively low budget because these guys wanted to be involved for the fun of it. The level of passion present in the practical effects community is something very awesome to tap into and it adds a level of production value to your movie that goes a long way in the horror community. Always pay as much as you can though.Push for your original singular vision.Destroy all Neighbors could not have been made by anybody else because it's so specific and singular to Josh, his sensibility, and the things he likes. Directors are supposed to direct movies that only they would be able to do. As a director, you need to understand own and articulate your own sensibility - yes, be open to feedback and collaboration, but your movies should feel specifically uniquely yours. These are the types of projects that inspire others and are worth getting excited about.SHOW NOTESMovies and TV ShowsOnyx the FortuitousFried BarryIdle HandsWhat We Do in the Shadows (both movie and TV show)Sin City (referenced for character design)Buffalo 66" (referenced for trailer music)MusicKing Crimson ("In the Court of the Crimson King")Gentle Giant ("Octopus" album)Straubs (band)Yes (band)Follow Josh Forbes at:Instagram: https://www.instagram.com/bestjoshforbes/IMDB: https://www.imdb.com/name/nm1141362/?ref_=tt_ov_drThanks as always...

Dave Clark is a filmmaker and creative force who's directed commercials for major brands along with multiple narrative films, including his 2019 feature, 'After She Wakes.'Dave recently released a must-watch short film called ‘Another' which is not only terrifying and beautifully made, but a great example of blending AI with live action filmmaking.This film exemplifies Dave's significant contribution to the AI filmmaking landscape, showcasing how AI should not replace humans or any facets of the filmmaking process. Instead, it can serve as an incredible creative tool, adding unique and exciting dimensions to the work. Dave has been a pioneer in the AI filmmaking conversation, demonstrating what accessible AI tools like Midjourney, Magnific, and Runway are capable of when combined with a skilled and discerning eye for cinema. His understanding of cinema and filmmaking has seriously enabled him to get really incredible results.Obviously, in the context of filmmaking, AI is a hotly debated topic of controversy, but regardless of whatever side of the fence you're on, I'd encourage you to listen to this episode. Dave is a very legit, honest to goodness filmmaker first who loves the entire process from being on set, to working with actors, to picking lenses, all of it, and he champions a future where AI is just another tool in the toolbelt and not a replacement for anyone. Dave was also recently brought in by SAG to deliver a presentation on AI and filmmaking to over 1,000 Screen Actors Guild Members.In this episode Dave get into the practical applications of AI in previsualization and post-production, and its ability to bring high-quality VFX within the reach of indie filmmakers. He stresses the importance of balancing AI tools with traditional filmmaking techniques, ensuring the human touch remains central in storytelling and cinematic aesthetics.Dave also shares his process for creating ‘Another' his short film that integrates AI with live action and together we explore how AI can act as a creative partner, offering fresh insights and accelerating the writing and development phase without overriding the unique voice of the writer.Overall Dave provides valuable insights into how filmmakers can navigate this new landscape, using AI as a tool to enhance, not replace, their creative processes.Here are some key takeaways from this conversation with Dave Clark:Use AI for previs and pitching. AI tools can greatly assist in previsualizing film shots, helping directors pitch their movies and helping DPs plan out scenes efficiently by trying out an infinite number of different shots, concepts, lighting, camera, and lens combinations. This is one of many use cases where AI does not replace the work humans do, but enhances it.Be subtle about using AI. In Another, Dave's short that integrated AI with live action, the AI element is apparent, but very subtle. He was super selective in what he used AI for and for everything else, he stuck to traditional filmmaking with real actors, a DP, crew, etc. It's tempting to push the boundaries of AI but that can look silly. I recommend checking out Another to see how nuanced and therefore effective Dave's approach was.Don't be a hater. There is a ton of hate around AI and it's use in filmmaking which is entirely understandible. I'm not going to go into the ethical discussions around whether or not it's theft because regardless of it being a valid argument, it's a rabbit hole and the truth is AI is coming and it's coming fast. The best approach is to seek to understand these tools because they're going to be part of the process just like CGI. Yes, of course, always advocate for using the tools ethically, but to ignore them, protest them, or shame others for using them isn't helping anybody.AI Projects:

Today, I'm very psyched to speak with Ryan Turek, the VP of Development at Blumhouse and Producer across many titles including Imaginary, Night Swim, The Exorcist: Believer, M3GAN, The Black Phone, Halloween, Halloween Ends, Halloween Kills, Freaky, Happy Death Day and the list goes on. In this episode, Ryan gets into his very compelling origin story from horror journalism to becoming a very pivotal figure who's shaping contemporary horror cinema.Ryan also dives deep into the lesser known sides of producing as well as Blumhouse's process for developing projects and nurturing directors. And we touch on Blumhouse's very exciting Halfway to Halloween Film Festival, a 5-day screening series beginning this Friday, learn more here: www.amctheatres.com/events/halfway-to-halloweenRyan is someone I've wanted to get on the show for a while and I really enjoyed this conversation. His story is a real testament to the power of persistence and passion, as well as the importance of remaining true to yourself which are hallmarks of Ryan's career that have led him to one of the most important and coolest jobs in horror today.Here are some key takeaways from this conversation with Ryan Turek.Passion and persistence. Ryan emphasized the importance of his persistence and staying true to his passion for horror and even though he didn't always know exactly which path to pursue at all times, he kept a foot in horror throughout his career which ultimately paid off in a huge way. His transition from horror journalism to film development showcases how diverse experiences can converge into a unique and powerful career path.Empathy is an underrated producer skill. When it comes to producing, Ryan stresses the need for empathy and listening. Film sets can be a high-stress environment, rife with a lot of people, egos and endless potential for chaos. With so many volatile variables on set, being able to listen and have empathy ensures people feel heard which makes everything go smoother. It sounds simplistic because it is, but the tenets of psychology apply to producing more than most other professions.Be a confidante. Ryan mentions that people often cite him as a calm and cool confidante who can help navigate them through day to day on-set difficulties with comfort. This is a very important skill to develop as a producer though not everyone is capable of it so if you're not, it's advantageous to have someone like this around because amid the chaos, someone capable of emotionally stabilizing people can stabilize the entire set. This all underscores how critical interpersonal skills are in managing production teams and bringing out the best in people and projects.Don't forget to check out Blumhouse's Halfway to Halloween Film Festival beginning this Friday March 29th at AMC theaters across America. Check out the link in the show notes or visit www.amctheatres.com/events/halfway-to-halloweenSHOW NOTESBlumhouse's Halfway to Halloween Film Festival beginning this Friday March 29th at AMC theaters across America: www.amctheatres.com/events/halfway-to-halloweenFollow Ryan:X: @_RyanTurek -

Hey everyone, trying something a little different out here. After 100 episodes where I've mostly focused on the guests, I'm introducing The Howl, a new recurring segment named after my newsletter of the same name. Once a month, I'll be joining forces with my friend Adam Cruz and we're going to summarize and discuss the past month's horror news, share what we've watched recently, and just generally nerd out over all things horror.You might know Adam best from his Instagram account @MurderMemes_ which I will link in the show notes. Adam is also the creator of Blood and Banter, a horror-centric conversational card game which is a ton of fun, which we've talked about on the show.So, The Howl is all about catching you up on what's happening in horror, delivering some solid movie recommendations, and hopefully entertaining you all the while. Note that this is a new segment and we're likely going to change things and refine the format as we go along and would love to hear from you on what you liked, didn't like, want more of etc. So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on a new monthly segment we're calling The Howl. SHOW NOTESFollow Adam Cruz at: Instagram https://www.instagram.com/murdermemes_/TikTok: https://www.tiktok.com/@murdermemes_Store: www.murdermemes.shopMOVIES:Evil Dead 2​​The Beyond​​The Exorcist​​Candyman​​HellraiserTexas Chainsaw Massacre​​Nightmare on Elm Street​​Scream​​Hereditary​​Martyrs​​Beetlejuice​​The Conjuring (series)​​The Killing of a Sacred Deer​​Howling 3: The Marsupials​​

Today we're talking to Andrew Corkin. Andrew is a producer who's body of work includes Martha Marcy May Marlene, the American remake of We Are What We Are, The Beach House (now streaming on Shudder) Alone With You, the feature debut of Emily Bennett and Justin Brooks, the Netfliux docuseries, Pepsi Where's my Jet, and many more titles. In addition to producing, Andrew is also a teacher who has taught at Emerson and The American Film Institute and goes out of his way to teach career lessons that are not typically taught in film school as evidenced by this conversation.Andrew delivers some of the most honest and thorough insights into what it means to be a producer that I think I've ever heard on this show. This is years worth of film school in a single hours so get ready to take notes. In this conversation Andrew and I discuss the keys to sustaining a long and successful career in film, the importance of mentorship and his experience within the horror genre. Here are some key takeaways from this conversation with Andrew Corkin.Heed the 80/20 Principle: Andrew pays a lot of mind to which directors he decides to work with, noting that it's a 3-5 year partnership and therefore a serious commitment. The balance he seeks in a director he's working with is someone with a strong vision but open to feedback. The ideal director has 80% of their vision realized and thought out, but remains open to 20% influence from collaborators. A director with too strong a vision is as difficult to work with as one whose vision isn't fleshed out enough. It's crucial to demonstrate a thorough vision while maintaining some fluidity to enable powerful collaborations.Show Don't Tell: When pitching Martha Marcy May Marlene with Director Sean Durkin, raising money was a challenge since at the time, Sean was a first time feature director. Andrew and Sean responded by creating a short proof of concept, showcasing the vision, tone, and nuance of the film they wanted to make. This approach was successful, helping them raise the funds not just by communicating the vision, but by demonstrating Sean's ability to deliver it as a director. A verbally articulated vision can only take you so far; producers need to see what you're capable of actually making if they're going to invest in you.Lean into mentorship. A common theme throughout Andrew's career has been mentorship and education. He not only seeks to learn from collaborators but will even choose specific collaborators to learn from. This learner's mindset can be rare in the film business which is rife with egos, but Andrew credits this mentality of continuous learning to his success and career sustainability and even after over a decade in the industry, he still constantly strives to learn more.SHOW NOTESMovies Mentioned: The Kid Stays in the Picture (Documentary about Robert Evans)Afterschool - Antonio CamposSimon Killer - Antonio CamposMartha Marcy May Marlene - Sean DurkinWe Are What We Are (Mexican Original) - Jorge Michel GrauWe Are What We Are (American Remake) - Jim MickleLet the Right One In (Swedish Original) - Tomas AlfredsonThe Babadook - Jennifer KentVigilante - Sarah Dagger-NixonClean Shaven - Lodge KerriganLe Samourai - Jean-Pierre MelvilleFollow Andrew Corkin at:Instagram: https://www.instagram.com/andrewdcorkin/X: https://twitter.com/andrewdcorkin?lang=enIMDB:

Today we have the Director of Onyx the Fortuitous, Andrew Bowser. Onyx the Fortuitous is a blast of a movie, now streaming on Screambox and one of the things I liked most about it is 1, it had really awesome practical creature effects from Adam KreatureKid Doughterty, but two, it was such a unique vision of a movie that was cast straight from Andrew's skull. The vision behind this movie was super unique, super fun, hilarious, and the movie ultimately made it all the way to the Sundance Film Festival.In this interview with Andrew, we get into the highly personal origins of the character of Onyx, how he was able to bring the character from being a YouTube sensation to a full feature, and plenty of geeking out on 90's nostalgia and practical effects.Here are some key takeaways from this conversation with Andrew.Expect to adapt. During filming, Andrew faced significant production constraints, including the loss of a crucial filming location – a cemetery. Every production needs a plan B, C, and sometimes even D. Andrew's experience is a textbook example. Losing a cemetery location could've been a disaster, but instead, it turned into a creative opportunity. Andrew's producer figured the art department could create a graveyard in the backyard of the house they were shooting at and voila, you cannot tell the difference. Things will inevitably go wrong when making movies so not only do you have to be adaptable, you need to surround yourself with other adaptable folks, especially producers.Hire local. When filming in unfamiliar locations you'll need someone on your crew with local knowledge. Andrew shot in Lenox Massachusetts and had local producers and a local AD. Their in-depth knowledge of the area, connections, and ability to navigate local challenges streamlined the production process. They had a ton of solves because they knew the town and the people in it and were able to call in favors. Every production needs a fixer, if you're filming outside a major production town, make sure you have a local expert on your crew.Channel yourself into your work. Andrew stated that Onyx is a manifestation of a lot of things that went undealt with in his fifth-grade self. First of all, this is a beautiful sentiment and I really appreciated him allowing himself to be so vulnerable to share this. Second of all, this is a fundamental key to great art which is to channel yourself into it. On the surface, Onyx might seem like a goofy, quirky caricature but there's something very compelling and lovable about him and it's entirely because he comes from a genuine and authentic place. For Andrew, Onyx wasn't just an alter ego but a vehicle through which he was able to recognize and process personal issues. It's pretty profound and a strong reminder of how cathartic art can be. For any creative, remember: your unique perspective is what gives your work its heart and soul so embrace it.SHOW NOTESMovies/ShowsHouse 2British Baking Show MiscAdam Dougherty - Creature Designer @Kreaturekid on Instagram or check out: kreaturekid.comFollow Andrew Bowser at:Facebook: https://web.facebook.com/AndrewBowserDirector/?_rdc=1&_rdrInstagram: https://www.instagram.com/andrewbowserdirector/?hl=enX: https://twitter.com/andrewbowser?lang=enLinkedIn: IMDB: https://www.imdb.com/name/nm0101453/

Today's guest needs no introduction, Eli Roth is one of the heads on the Mount Rushmore of horror and for good reason. This is actually my second interview with Eli and if you haven't already, I recommend listening to my first conversation with him prior to this one. This time around, Eli and I dug deep into the making of Thanksgiving, the status of Thanksgiving 2, how he comes up with new gore gags, and they keys to running a fun and productive set. Thanksgiving, by the way, is now streaming on demand and available on blu ray. Here are some key takeaways from this conversation with Eli Roth. Be prepared and pick people up. Eli mentions that the secret to achieving the balance of a fun and professional set is to channel excitement into the work itself, rather than simply goofing off. Though there is a time and place for things like pranks and horsing around, the focus should be on cultivating a set culture that collectively revels in the filmmaking process whether it's over an amazing shot, a performance, or practical effect. The key to creating this as a director is to be prepared and to do everything you can to ensure everyone else is prepared. Eli also points out that on any project people are going to have bad days and it's important for the set to rally around people and pick them up when it happens. This approach ensures a smooth and cohesive set experience and an environment of trust where everyone feels supported which is the foundation for getting great work done. Face & study your fears. Eli is vocal about channeling his own fears and anxieties into his movies. For instance, 'Green Inferno' mirrors his concerns about slacktivism—the millennial trend of supporting causes superficially on social media without any genuine action. 'Hostel' is about xenophobia and the consequences of perceiving foreigners as “the other," while 'Cabin Fever' came from his personal encounter with a parasitic skin disease. Eli underscores the significance of confronting and understanding one's fears as a method to unearth the thematic core of a story, often hidden within these fears. In 'Thanksgiving,' he draws upon his existential unease with the over-commercialization of Christmas, observing how the frenzied consumerism of Black Friday directly contradicts the Thanksgiving holiday's ethos of gratitude and compassion, which became the movie's theme. Misdirect is the key to a good scare. Modern horror audiences are tough to shock; they're well-versed in the genre's tricks and can detect a jumpscare from a mile away. Eli points out that effective scares are all about the misdirect. Emphasizing that the scare works best when it's off-rhythm after you lead viewers down one path you abruptly divert them elsewhere. He notes that the most successful scares are those that break the predictable rhythm that you set as a director. Eli also stresses the importance of variety in scares and how it's crucial to compare each scare to every other scare to avoid repetition. Audiences are quick to pick up on patterns, so each scare should be unique to prevent them from anticipating them.   SHOW NOTES Movies Mute Witness The House that Screamed The Vanishing (Dutch Version) The Prowler   Filmmaking Tools  FrameForge software for previsualization of scenes

Today we have a very, very special guest. Somebody who I've wanted to have on the show since I first started the show a few years ago. That is the legendary Eli Roth. We basically focused the conversation on Thanksgiving, his latest movie, which I highly recommend you go see. In any case, I figured I would give everybody a brief overview of the life and career of Eli Roth before getting to the interview. Eli Roth was born in Newton, Massachusetts. His father was a psychologist, and his mother was an artist. He grew up on '80s horror and even had a horror-thriller theme to his Bar Mitzvah, where he got sawed in half. He went on to attend the NYU Tisch Film School, and he made what he called a Tarantino rip-off, a short called "Restaurant Dogs," which he spent about $10,000 on and used as a calling card to get his first feature made. His first feature, of course, was Cabin Fever in 2003. So Cabin Fever was based on a real-life skin rash that he got while riding ponies on a farm in Iceland. Turns out it was ringworm, and he claims that when he was scratching his leg, entire pieces of skin were peeling off. He then went to shave his face, and it had affected his face too. And as he tried to shave, entire swaths of skin came off of his face. Eli claimed that he essentially shaved off half of his face before realizing this is a perfect concept for a horror movie. He then went on to write the script, but it took six years for him to raise the $1.5 million budget, which he raised through private investments. The movie went on the festival circuit, and Tarantino saw it and claimed it was the best new American movie. It was eventually bought by Lionsgate at the Toronto Film Festival in what was the festival's biggest sale and then went on to earn $35 million globally. Perhaps Eli Roth is best known for his breakout horror hit, Hostel. This is my favorite Eli Roth movie. There's something about it that I find to be just timeless and ruthless but still a lot, a lot of fun. It mixes brutality with fun in equal measure and it gets really dark and really brutal and really scary, and you almost don't think you can handle it, but somehow you can. Hostel was made for a budget of $4 million and opened number one at the box office opening weekend, eventually taking in $20 million in its first weekend and grossing $80 million worldwide at the box office. Eli turned down multiple studio directing jobs and took a directing salary of only $10,000 on Hostel to keep the budget as low as possible so there would be no limits set on the violence. In 2006, film critic David Edelstein in New York Magazine credited Eli Roth with creating the horror subgenre, "torture porn." So when you think about it, the early 2000s was a pretty watershed time for horror. The '90s were relatively tame compared to the '80s. Of course, in the '90s you had Scream and I Know What You Did Last Summer, but they paled in comparison to the buckets of gore that we saw with franchises like Nightmare on Elm Street, Friday the 13th, and even the Texas Chainsaw sequels that came out in the '80s. However, the early 2000s led to the Splat Pack. This is a number of directors who were considered to contribute to a gleeful revival of gore being put back into movies, and Eli Roth was a big part of it. They include Eli Roth, Alexander Aja, Adam Green, Rob Zombie, and James Wan. There were a few others, but these were the main guys credited as being part of the Splat Pack. So to put this into chronological order, first came High Tension in 2003, which also kick-started French extremism. That was director Alexander Aja. And that movie is fantastic. I highly, highly recommend it. Next came Rob Zombie's amazing House of a Thousand Corpses. I recently bought the Blu-ray, and I think I've bought this movie about five times now because I just cannot stop. In any case... Saw is what really kicked off torture porn in 2004 and essentially paved the way for Hostel, which came out in 2005. Hostel was then followed up by Hatchet from Adam Green in 2006. The Hatchet movies are a lot, a lot of fun. If you're a Friday the 13th fan, you definitely need to check these out. SO I also figured I would give you Eli Roth essentials. These are what I consider to be Eli Roth's core horror movies. First is Cabin Fever. As I mentioned before, it's fun. It's fantastic. It is really, really repulsive. It's great to see what he was able to do on a limited budget, and you get glimpses of his overall sensibility. Next, Hostel. Unmatched brutality and humor. Eli Roth's best movie, in my opinion. Next was Hostel 2, which I think was a very worthwhile follow-up. He claims that he lost audiences on this one because it was too brutal and it lacked the humor of the first one, but I kind of disagree. It might not be as funny, but it is a great movie, and the whole thing is worth the final kill at the end, which I still don't know how they got away with an R rating for that. I'm not going to ruin the ending for you, but I do recommend you see it. Fourth would be Green Inferno from 2013. This movie is highly underrated, and I don't know why I don't hear more people talking about this. Socially, it's very much ahead of its time and it explores what Eli Roth referred to as slacktivism, basically people who claim to get behind causes just for the vanity of it and actually don't understand the causes nor do they actually do anything about it, they just tweet about it. Somehow this feels more relevant today than ever before. Green Inferno is fantastic. It's basically Eli Roth's version of Cannibal Holocaust, which I highly recommend if you haven't seen it. Apparently you can get an animal cruelty-free version, and I highly recommend watching that version. If you're not sure what you're watching, if you see a turtle, a monkey, or a weird aardvark-looking thing. Start to fast forward. It is just not worth it. But the movie itself is fantastic. So Green Inferno, I actually almost vomited watching this movie, which has never ever happened before. I saw a screening of it, and I had to eye the exits. I had to figure out an escape plan. I didn't end up throwing up, but I had to plan for it. And like I said, never ever happened before in a movie. So yeah, so that is my Eli Roth essential core four. Again, that's Cabin Fever, Hostel, Hostel 2, and Green Inferno. All of this brings us to Thanksgiving, Eli Roth's latest movie which just came out. So I'm hoping most of you listeners have seen Grindhouse from 2007. If you haven't... Run, don't walk. Grindhouse is a fantastic, fantastic experience, and one of the most insane moviegoing experiences I've probably ever had. When you watch it now, it just feels like an impossible movie that could never ever get made ever again. Nothing like it. It's about a $70 million epic where Robert Rodriguez and Quentin Tarantino each made a grindhouse-style horror movie and in between the movies are these fake trailers for movies that don't exist. So the first fake trailer was Machete, which actually spawned two movies, and then Rob Zombie did a trailer, Edgar Wright did a trailer, and Eli Roth did a trailer, called Thanksgiving, and the trailer is so awesome and so brutal and just so completely and totally insane. And now Thanksgiving is a feature-length movie has finally come to theaters and it is a lot of fun. It's very different from the trailer. It is not an '80s style slasher. It's very much a modern reinterpretation of it, but it is a really fun theatrical experience. So when approaching the feature-length Thanksgiving, Eli had to come up with a way to contextualize the new movie against the old movie. And what he basically did was he thought of the old movie in his imagination as a movie that came out in the '80s but it was so brutal, so appalling, that it was pulled from theaters and all of the reels were destroyed and the only thing that survived was that trailer. Thanksgiving movie is a remake of that Thanksgiving movie. Pretty interesting way to frame it. And, uh, yeah, it explains why they are not all that alike, but regardless, the new Thanksgiving does not disappoint. So don't wait for streaming, just get out to the theaters and see it. So I am very pleased, very humbled, very grateful to introduce today's guest, the legendary Eli Roth. Oh      

Mike Cessario is the CEO and Founder of Liquid Death, an outrageous new canned water brand with quality mountain water engineered to murder your thirst! Liquid Death has made a name for itself as an extremely disruptive force of marketing, and the brand's outlandish marketing stunts are as refreshing as the water itself. To date, the brand has convinced 180,000 people to sell them their souls, has cursed its water with a real witch, and performed a reverse exorcism with an accredited warlock that allegedly put demons into the water. Customers who purchased during this time period were entitled to a coupon for $1 off any exorcism (yes, this is all for real). Recently, to further raise awareness of plastic pollution in the oceans, Liquid Death released a series of plush marine animal stuffed toys called Cutie Polluties that were bloodied and choked with plastic garbage. Additionally, as you can imagine, this is a brand whose unholy approach to marketing inspires a lot of controversy and hate, which is why Liquid Death took their favorite angry online comments and turned them into lyrics for their own death metal album. Liquid Death also has a very compelling mission, which is to eradicate the overuse of plastic bottles. According to their website, the average aluminum can contains over 70% recycled material, whereby the average plastic bottle contains only 3%. Additionally, aluminum cans are infinitely recyclable, and of all the aluminum produced since 1888, over 75% of it is still in current use. Plastic, on the other hand, technically isn't even recyclable in the first place because it costs so much money to melt it down, sending most of it into landfills and into the ocean. The planet has been overrun by plastic pollution, and Liquid Death is here to do something about it, which is why 10% of profits from every can sold help kill plastic pollution. Prior to founding Liquid Death, Mike worked in marketing with companies like Vayner Media and worked on multiple viral promotions for Netflix on series like "House of Cards," "Stranger Things," and "Narcos." The entrepreneurial origin story behind Liquid Death is extremely inspirational and a real testament to how putting passion, fun, and personality into a brand can make it into a formidable game-changer.  Here are some key takeaways from this conversation with Mike Cessario. Throw the rules away. The world of branding is silently governed by a list of archaic rules that dictate what you can and can't do - if you want a groundbreaking brand, it's time to stop playing by these rules. During his advertising years, Mike asked himself why products, specifically in CPG, had to play by these bland and boring 1950s rules, which entertainment brands were never at the mercy of. As a result, Liquid Death's marketing is brash, violent, occasionally foul-mouthed, and extremely controversial, but as a result, it has a rabid fan base because it's so fun and different. So whether you're starting a new brand or want to do something different with an existing one, consider throwing out the puritanical rule book that's been governing the world of CPG for decades and do something new.   Ideas don't sell. Proof sells. After coming up with the idea of Liquid Death, instead of running straight toward investors, Mike decided to prove the product's viability in a low-risk manner by producing a commercial for the product before it even existed. The commercial was completely insane, became instantly viral, and Mike set up a Facebook page to gauge interest and found that there was a serious amount of demand for his product. He was even pitched by stores like 7-11. Mike then took this data, made a pitch deck, and was off to the races with investors. Had Mike walked into a boardroom with the idea for a mountain water with unnecessarily aggressive branding called Liquid Death, he probably would have been laughed out of the room. But, by showing the serious interest in the product, he de-risked the project and proved its viability. The public is dying for products as outlandish as Liquid Death, but you need to prove them before you can expect to get investors interested.   Compete within your culture, not your industry. One of the fascinating things about Liquid Death as a brand is how loyal the fans are and particularly how much merchandise they are selling. Posters, hats, sweatpants, and limited edition T-shirts fly off their shelves because the company is more than a water brand; it's a lifestyle. But it became that by taking a cue from other exciting and fanatical industries, like music, movies, and art, instead of trying to play by the rules within its own vertical. By doing that, it achieved icon status, and as a brand, it competes with entertainment properties because its marketing is always so hilarious and so insane, and fans are always on the lookout for what they're going to do next. Had they done an elaborate audit on what other brands in the water industry were doing and tried to compete by playing within their own space, the brand never would have had the impact it did. So, think outside of the box that your brand has put you in because that is the key to transcendent & compelling branding that enables truly loyal fans.  ----- Produced by Simpler Media

Welcome to the Nick Taylor Horror Show! As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much, much more. In this episode, we're thrilled to welcome the innovative, resourceful, and determined filmmaker Robbie Banfitch. Robbie recently made an impressive debut with his first feature, 'The Outwaters.' 'The Outwaters'  is a unique blend of survival horror and found footage with a touch of quantum horror. The film takes its audience on a terrifying journey into the heart of the Mojave Desert and straight to hell from there. Here, four travelers set up camp, initially to shoot a music video, but soon find themselves plunged into a harrowing, reality-bending nightmare. What begins as unexplained sounds, odd vibrations, and strange animal behavior soon morphs into a terrifying ordeal that challenges the very nature of their reality. Not only did Robbie direct this film, but he also wrote it, starred in it, and financed it while working full-time for Greenpeace. All of this was achieved on a meager budget of just $7,000, proving that creativity and drive can outshine even the tightest of budgets. The film premiered at the New Jersey Film Festival in 2022 and is now streaming on Screambox. Without further ado, please enjoy this conversation with Robbie Banfitch.  Reflecting on our conversation with Robbie Banfitch, only one key takeaway stands out: if you want to be a filmmaker, there is simply no excuse not to make your movie. Robbie's journey with 'The Outwaters' showcases this in its purest form. With a limited budget, he managed to create a feature film that didn't feel restricted by its financial constraints but instead used them to inform its very intentional style and narrative. Horror is not just the most profitable genre—it's also the most adaptable. We've witnessed an explosion of creativity, with filmmakers exploiting simple technology to craft stories through Zoom calls, screen shares, and beyond. You're truly only limited by your imagination. Our guests consistently reiterate this advice which is: look at what you have and just start filming. We're in an era where excuses are obsolete. And Robbie is a shining example of this spirit. He's not only made Outwaters but has gone on to shoot two more features. Regardless of what he has access to, he's a relentless creative force who actualizes his projects, offering a pretty serious lesson for all of us. Robbie's journey reminds us to seize any and all opportunities and to start creating, regardless of our circumstances. As Robbie demonstrated, all it takes is a little ingenuity, tenacity, and a budget as low as $7,000. As I reflect on this conversation, it's clear that it's time I take this advice to heart myself, and I hope you listeners do too. Until next time, stay spooky and keep creating.   Show notes Movies Mentioned: Willow Creek Knight of Cups    Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Today, we are moving away from our usual discussion about cinema and diving into uncharted waters. A while ago, I developed a podcast concept called 'What Was That?', where I explored the world of the paranormal. The series didn't come to full fruition (yet), but I've held onto two pilot episodes that are ready to be revealed. The first episode tackles a true event known as The Hanover Haunting, one of the most intense examples of demonic activity in history. Be warned, this episode delves into some intense content, so listener discretion is advised along with a trigger warning that this episode mentions instances of child abuse.  The second episode centers on an individual's encounter with the Grim Reaper. This experience challenges our understanding of life, death, and the mysterious in-between. As we explore these true accounts, keep this question in your mind: What Was That?   Hope you enjoy!  ----- Produced by Simpler Media

Welcome to The Nick Taylor Horror Show! Today, we have a dynamic duo, Director Anthony DiBlasi, and his wife, actress Natalie Victoria, joining us.  After graduating from Emerson College and moving to Los Angeles, Anthony became a protégé of Clive Barker and worked alongside him on films like Midnight Meat Train and 2009's Book of Blood.  Anthony made his directorial debut with the psychological thriller Dread, based on a Clive Barker short story. One of Anthony's most acclaimed films was Last Shift, released by Magnolia Pictures in 2015. His filmography also includes the psychological thriller Extremity from 2018. Now let's talk about Anthony's Wife, Natalie Victoria. Beginning her career in theater, Natalie has earned awards and recognition for her acting and writing. Natalie has acted in various features, short films, and stage plays, including the comedy "Deadheads," and the cult classic horror film Last Shift.  Natalie stars in Anthony's latest release Malum, which is actually a remake of Last Shift.  The film follows a rookie police officer as she uncovers the eerie connection between her father's death and a vicious cult during her shift at a decommissioned police station. As the lone officer on duty, she finds herself in the midst of terrifying paranormal events while learning the shocking truth about her family's history with the cult. In our conversation today, we discuss the importance of building trust with actors, crafting horror based on personal fears, and Anthony's 10 years working with Clive Barker. Here for your listening pleasure are Natalie Victoria and Anthony DiBlasi. Here are some key takeaways from this conversation with Anthony DiBlasi.   Make Hell a safe space.  I've talked with people at length about how horror can be substantially more demanding on actors because it requires the most intense emotions. For this reason, horror directors need to take particularly great care of their actors. Anthony mentioned that it's essential for directors to shield their actors from on-set turmoil, especially time constraints. By ensuring your actors are cocooned from such pressures, even at the cost of other departments, you provide them with the environment necessary for a stellar performance.   Forge an emotional connection to your actors.  Anthony also stressed the significance of establishing genuine emotional connections with your actors.  It's the director's job to uncover the emotional truth that resonates with the actor for each scene. Rather than rudely prying them for emotionally intimate details of their life, Anthony stated that he would often reveal intimate and vulnerable details about himself and how he related to a scene to enable them to open up. Art often requires vulnerability; if you want your actors to go to dark places, you have to be willing to go there first.  Find out how your actors like to work. Further, Anthony and Natalie underlined the importance of understanding your actor's preferred way of working and direction style. Encourage them to share past directing experiences, both good and bad. Every actor is different, and tuning into their specific needs will mold you into a more versatile director.   Create a repository When it came to the creation of Malum, Anthony revealed how various elements - dreams, sketches, vague concepts - had been incorporated into the film.  Fortunately, his habit of consistently jotting down ideas, no matter how undeveloped, provided a wealth of material, or 'firewood' as David Lynch would say, all of which was at his disposal during the scriptwriting process. As a result, Anthony strongly encourages the use of note-taking apps (like Evernote and Notion), as they can be game changers. Amassing your thoughts over time can make facing that blank page far less daunting.   Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Welcome to The Nick Taylor Horror Show! Carter Smith is a writer, director, and photographer who has directed movies such as The Ruins, Midnight Kiss, and, most recently, Swallowed.  Swallowed is an independent body horror film about two friends who find themselves swallowed up in a drug smuggling operation where they ingest drug-filled sacs and trigger a chain of horrific events.  This is my second interview with Carter, so if you're interested in his director origin story, including his work with Paramount and Blumhouse, you should definitely go check out episode 34. In this interview, we cover the making of Swallowed, the benefits of working with a lower budget and smaller crew, and how to puppeteer monstrous worms. All this and so much more on the Nick Taylor Horror Show.  Here are some key takeaways from this conversation with Carter.  Write what you can make on your own. This is a recurring theme in these interviews. As both Robert Rodriguez and Kevin Smith did with their first movies, Carter took an inventory of everything he had access to and then built his script around that. This included a white van and a hunting lodge, both of which appeared in the movie. It's easy to write beyond your budget, but it's still important to maximize production value; everyone typically has access to something that can boost production value; a house, property, a friend with a boat, etc. Figure out yours and write a script around it.   Make your second first film. Common advice or direction in the film industry has a lot of directors always trying to substantially increase their budget with every subsequent movie. It's what agents advise, but it can be creatively limiting and leave you in a desert for years. If you have a movie under your belt, doing one at a lower budget is not a step backward, so it shouldn't be for your ego (or your agents). Carter has done movies for Paramount and Blumhouse but was itching for a project and went for it with his own money. It's ballsy, for sure, but it's what artists do.   Write with the budget in mind. With his budget so low, Carter surmised early on that he and his crew could shoot at a rate of 6 pages per day, so he structured his script entirely around this shooting schedule and made sure that each scene only lasted 6 or 12 pages so he could maximize locations and minimize company moves. As much as it may feel like you're stifling creativity, putting these guardrails in early in your creative process can save a substantial budget and, as Carter says, can actually be creatively liberating since limitations force creativity.  Low-budget movies mentioned: - Horrible Way to Die  - Hellbender - Sun Don't Shine - Are we not Cats  - Always Shine - Toad Road - The Deeper you dig - Blue Ruin  - She Dies Tomorrow - Pyewacket    Books:  - Like Brothers by The Duplass Brothers    Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Alison Star Locke is a writer and director who recently released her excellent feature debut, The Apology, with Anna Gunn, Jeanine Garofalo, and Linus Roache. 20 years after her daughter's disappearance, a woman's Christmas gathering spirals into a suspenseful showdown when an unexpected guest arrives with haunting secrets. As a storm traps them together, past grudges and hidden truths turn merry festivities into a psychological battleground. This film combines emotional drama with horror and overall creates a very atmospheric exploration of guilt, loss, and revenge. I'll tell you the suspense building in this movie was masterful, and I was very nerve-wracked up until the end.  The Apology will be streaming on Hulu beginning tomorrow, June 16th, also available on VOD. In this episode, we'll get into Alison's filmmaking origin story, the importance of putting personal truths into horror, and how she's able to get compelling performances from her actors when they have to go to the depths of the human psyche. Please enjoy this conversation with Alison Star Locke. Here are some key takeaways from this conversation with Alison.    Nurture current relationships and collaborations. The opportunity for Alison to direct her first feature arose from an existing contact she had who she originally asked for feedback on The Apology. This underscores a key insight: while networking and forging new connections are important, sometimes there's immense value in recognizing and nurturing the relationships you already have. The quest for new connections can sometimes overshadow the potential of the relationships right under your nose, those that may harbor incredible opportunities.   Use Star Cards. Alison effectively employed a unique tool on her set that she called Star Cards. These cards acted as written reminders that kept her aligned with her film's true intentions. On a bustling film set with countless decisions to make and problems to solve, it's surprisingly easy to lose sight of the original vision. That's why having something tangible that aligns you to your 'true north' can be an invaluable resource to constantly remind you of the core vision and intention of your movie. Star Cards can act as that anchor amidst the chaos, keeping the director grounded and focused.    Jump into emotional trenches with your actors Horror filmmaking, when executed with authenticity, often demands that actors plunge into deep, dark places of fear, suffering, and violence. This can be daunting, emotionally taxing, even traumatic for actors. It's crucial then, as Alison points out, for a director to be right there with their actors in their emotional trenches. Alison operates under the principle of never asking her actors to emotionally go to places that she herself wouldn't go, and in the case of The Apology, she often shared her own experiences and emotions that were related to the work itself. This practice not only fosters a sense of safety and trust but also demonstrates the director's solidarity with their actors - ultimately reinforcing the idea that they are all on this journey together and in the same foxhole.   Anyway, guys, thank you as always for listening, don't forget to check out The Apology, which will begin streaming on Hulu beginning tomorrow, June 16th, also on VOD.    Show Notes: Directing Actors & The Film Director's Intuition by Judith Weston John Sayles (writer) Scriptation - script annotation software    Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Welcome to the Nick Taylor Horror Show. As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey.   Join me in welcoming Vincent Grashaw! Vincent is a writer-director known for films like Coldwater, And Then I Go, and last year's stunner, What Josiah Saw.   What Josiah Saw is a southern gothic psychological horror drama that takes us into the heart of a dysfunctional family's grim reunion at their remote farmhouse. The film unravels a tapestry of secrets and sins, ultimately confronting the profound impact of generational trauma.   With an exceptional ensemble cast including Robert Patrick, Nick Stahl, Scott Haze, and Kelli Garner, What Josiah Saw is a powerful and unflinching piece of southern fried noir cinema. The film holds a rightfully earned 90% on Rotten Tomatoes and you can catch it right now on Shudder. I highly recommend this film but be careful who you watch it with because it gets pretty intense.   Here are some key takeaways from this conversation with Vincent Grashaw:   Vet your actors. Lots of well-known actors disappear from the limelight simply because they're difficult to work with. Talent is not enough, your actors have to be cooperative and collaborative or else you can be in a world of pain. This is why it's critical to dig deeper into your potential hires. Speak to producers, casting directors, and trustworthy actors. See if they're game for the demands of your production, including long hours, low budgets and shooting styles. This is vital for your lead actors but also goes for your key crew. A single ego can disrupt the whole set's harmony. So, do your vetting, awkward as it may feel, it'll save you substantial heartache.   There's an insight in every note. When gathering feedback on edits for Josiah, Vincent discovered that those unattached to the movie were typically more objective, even if their notes sometimes annoyed him or suggested they missed the movie's point. He learned to check his ego when facing feedback, striving to find the truth in every single critique. It's easy to shrug off notes and feedback, and that's often your ego talking. After your first edit, you're likely too close to your movie to spot its flaws. So heed the feedback, even if it seems uninformed at first glance. Find the commonalities in the notes and dig beyond yourself to figure out what needs fixing.   Overprepare. The beautiful direction and tonal unity inWhat Josiah Saw didn't happen by chance. Vincent stressed that over-preparation grants you the leeway to be organic during shooting. Yet, relying on spontaneity without preparation is a straight path to failure. A director's job is to be so deeply rooted in their vision of the movie that they can pivot at a moment's notice and answer the thousands of questions that arise on the day. Seemingly paradoxical, over-preparation is your secret weapon for improvisation, allowing you to adapt swiftly and effectively to any curveball the production throws at you.   Thanks as always for listening and keep an eye out for Vincent's upcoming project "Bang Bang," a gritty drama starring Tim Blake Nelson as a retired boxer who finds redemption through caring for his grandson.   Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Welcome to the Nick Taylor Horror Show. John Truby is a widely known name in the realms of screenwriting and storytelling, having shaped the narratives of over 1,000 film scripts as a consultant. John is also the author of multiple books, including 'Anatomy of Story: 22 Steps to Becoming a Master Storyteller,' and his latest release, 'The Anatomy of Genres: How Story Forms Explain the Way the World Works,' which delves into the core elements that shape various genres, with a big focus on horror. On top of being an acclaimed author, John is also a lecturer and course creator with online courses that meticulously analyze multiple genres, and his horror/fantasy/sci-fi class is truly excellent. In today's conversation, we'll be dissecting the horror genre, from its structural elements to its primal effects on human beings. We'll explore common mistakes in horror scripts and discuss how writers can keep their horror narratives fresh and riveting. This interview is packed with insight, and we've designed it to be a tight 30-minute segment that can be easily revisited whenever you're about to embark on a new horror project, so I hope you enjoy and get a lot out of it. John is clearly the real deal when it comes to understanding genre, and I would put his work alongside Save the Cat and On Writing By Steven King when it comes to your essential intake materials.  I recommend getting his new book and downloading his horror course to get the most out of his materials. To get your hands on John's new book, 'The Anatomy of Genres,' head over to anatomyofgenres.com, and for more information about his story courses and story software, visit truby.com. Thank you for listening! Don't forget to subscribe.    Show Notes: John Truby's Horror, Fantasy & Sci Fi Audio Course  John's latest book The Anatomy of Genres   ----- Produced by Simpler Media

"Fear is earned through character; you might hear someone say that you're only as scared as the characters on the screen." Welcome to the Nick Taylor Horror Show! As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much much more. Judaic demonology has carved out its niche as a legitimate horror sub-genre with entries like 2019's The Vigil, Sam Raimi's The Possession, 2022's Lullaby, and most recently, The Offering. Set in a Brooklyn Hasidic enclave, the film draws its plot from the Jewish folktale of Abyzou, a female demon blamed for miscarriages and infant mortality. Shot on a relatively low budget, The Offering is a riveting horror drama that showcases indelible character-building, great performances, and stunning cinematography, ultimately marking an undeniably impressive debut for our guest today, Oliver Park. Oliver Park is a British horror writer and director best known for his short films Vicious and Still, which have been praised by fans and critics alike. The Offering is his first feature and is now streaming on Hulu. In this conversation, we delve into Oliver's directorial origin story, the making of The Offering, and an exploration of what it means to be a scholar of fear. Here are some key takeaways from this conversation with Oliver Park.   Build fear through character and story. The Offering excels at character development, with each character displaying a significant amount of depth and well-crafted backstory. This aspect contributes greatly to the film's effectiveness, as understanding the characters leads to caring for them. When you care for the characters, you empathize with their struggles, and that empathy ultimately transforms into fear for their well-being, which is ultimately what can make your movie genuinely scary.   Be flexible and foster a secure atmosphere for actors. The acting in The Offering is impressive, especially considering it's Oliver's first feature film. He emphasized the importance of creating a secure environment for actors, which primarily involves giving them the space and time they require and protecting them from on-set chaos. This is achieved by briefing the crew beforehand and closely collaborating with your AD regarding set pacing while also advocating for more time when necessary. Particularly in low-budget films, there's often pressure to move at a rapid clip, but the subtle details that can make or break a movie, such as performance nuances, require time and are ultimately worth the investment. Learn to create the space needed for actors to deliver their best work, even when working at a fast pace.   Stay closely connected with the story to make adjustments during production. Oliver mentioned that several unexpected events occurred while making The Offering, but instead of panicking, he managed to bounce back because of his deep understanding of the story. Relying too heavily on specific scenes, dialogue, or set pieces can make your movie vulnerable to collapse if things don't go as planned. To build resilience, become so intimately familiar with the story that you can quickly devise alternative solutions that still remain true to the story's core. This will give you the adaptability to turn on a dime and rewrite scenes, dialogue, etc., when things inevitably go wrong.   Scares, Story, Character; the magic short solution.  Oliver offered an extremely powerful distillation of principles for producing a powerful short; this is a nugget of pure gold. He stated that people will take you seriously if you can create fear and build great characters with a solid story underneath it all. This may sound simple, but it's very difficult and the main challenge for horror filmmakers. Watch Oliver's short Vicious as well as the short of Parker Finn and David Sandberg for examples of this.    Show Notes: Oliver's short films, Vicious and Still. Book: The Idea of the Holy by Rudolf Otto   Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Welcome to the Nick Taylor Horror show, Episode 100! As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much much more. I have a very special episode in store today, one that should put a smile on all of your faces. That's right, Parker Finn is in the house! Parker is a man who should need no introduction for us horror fans as the director behind one of this year's breakout horror hits, SMILE. First of all, I owe an enormous thank you to my friend Joe Russo who made this interview happen. Joe, you're the best, and I thank you very, very much. So, Parker has obviously been doing a lot of interviews recently, and I made an effort to make my questions as unique as possible. As a result, we got into a lot of the craft of SMILE, how he worked with actors, his DP and editor, and the keys to crafting effective scares. One thing we didn't get into very much was the overall origin story about how SMILE, Parker's very first feature, came to be. So I will give you the short version right here. In 2020, after struggling as a filmmaker in Los Angeles for about 8 years, Parker made a short film called LAURA HASN'T SLEPT for roughly $30,000. LAURA HASN'T SLEPT ultimately got into SXSW, where it won the Grand Jury Award and shortly thereafter got the attention of Paramount, who offered Parker the opportunity to direct a feature adaptation which turned into SMILE. SMILE was originally intended to go straight to streaming on Paramount plus, but after a series of overwhelmingly positive audience reaction tests, SMILE was given a wide theatrical release. To date, SMILE has made over two hundred million at the box office, making it one of the highest-grossing horror movies of all time, which for a first-time director, is really fuckin cool. For a more comprehensive deep dive into Parker's origin story, definitely check out Mick Garris' conversation with Parker on the Post Mortem podcast. I listened to that right before doing this interview to make sure we didn't cover the same ground, so the two are very complimentary if you want a fuller picture.   Here are some key takeaways from this conversation with Parker Finn:  Do one thing really right in your short. Parker's short, LAURA HASN'T SLEPT, is excellent and was the catalyst that led to him getting SMILE made. You can actually watch LAURA HASN'T SLEPT on the upcoming SMILE blu ray release or for free on YouTube right now (link is in the show notes). When it comes to shorts, Parker claims that lots of filmmakers try to make their shorts do too many things when instead, focusing on doing one thing really, really effectively is what makes shorts stand out. Focusing your forces allows your shorts to go deep instead of wide, which is suitable for the short-form medium, which is intended to be a single act, a single movement, and therefore is best suited for a single focus. Parker also recommends pulling off things that are not typical or difficult to do in your shorts to show what you're capable of as a director. Start with character and then throw their worst-case scenario at them. Parker has spoken at length about how the scariest horror movies are most powerful when you care about the characters that the terrible things are happening to. Horror filmmakers must be effective dramatists firsts by enabling the audience to empathize with their characters. Effective horror works through empathy because if done right, your audience will experience terror through your characters. With this in mind, it's critical to ground your characters with honesty and relatability so the audience can connect with them upfront. If you fail to properly build empathy, the audience will simply observe your characters from the perspective of a detached third party which just isn't as scary as experiencing the horror through them firsthand. Next, once you figure out who your characters are and make the audiences care, design and fine-tune the horror element to be the worst-case scenario for them specifically. Follow intuition on set and science in post. Parker mentions that when crafting fear, he typically relies on his intuition while shooting but then applies more analytical thinking when approaching things like building tension and scares in the edit. Horror relies on a critical balance between science and intuition, left-brain and right-brain thinking. To craft fear, you need to have an inherent human understanding of what is frightening. In addition, it's important to recognize that horror is a seduction, one that relies very heavily on pacing, which is why your editor is one of your most important collaborators. Also, it's near impossible to be objective about how scary your own movie is because you're likely to be too close to it, so you may want to do what Parker did and test your scares. Parker would sit people down to watch certain scenes during the edit to observe whether they would actually get scared. Don't get caught up in the noise. Parker reflects on his eight years in Hollywood and constantly hearing all manner of bad advice for filmmakers. He also observed multiple industries aimed at exploiting aspiring screenwriters with crappy resources and products. Parker considers this to be a bunch of noise and says it's important for directors to phase it out. He recommends focusing on you as an artist. What speaks to you? What are you most interested in, and what will you be able to focus obsessively over in your movies? These are typically the kinds of projects that break the most new ground because they're personal, unique, and directors care way more about them. Phasing out the noise can help you individuate your vision and films so they can stand out in the industry. These are the kinds of films that the industry needs and the kinds of films that fans prefer, and honestly, given the recent success of films like SMILE, TERRIFIER 2, and BARBARIAN, right now could not be a better time for original horror.   Episode 100 in the bag! A big huge thank you to you, dear listener. Without you and your support, this podcast would not be possible. Looks like I'll be taking a short break before coming back with season 4, but in the meantime, keep in touch and keep those cameras rolling.   Thanks again for listening to the Nick Taylor Horror Show!    Show notes: Parker's original short, LAURA HASN'T SLEPT: https://www.youtube.com/watch?v=uy3t633Q4w0 ON WRITING by Stephen King SAFE, Director Todd Hanes ROSEMARY'S BABY. Director Roman Polanski CURE, Director Kiyoshi Kurosawa THE SHINING, Director Stanley Kubrick   Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Mark Ramsey is an audio storyteller and maker of some of my favorite podcasts, including the Inside Series, which consisted of Inside Jaws, Inside The Exorcist, and Inside Psycho. Which if you have not listened to yet, do yourself a favor and download them all; they are a treat for any horror or cinema fan.  In collaboration with his partner and sound designer Jeff Schmidt, Mark's specialty has become making memorable, compelling, and revolutionary audio experiences that thrill, inspire, make you smile, make you gasp, and touch your heart.  Mark's latest creation is Dark Sanctum, a spine-tingling 7-episode limited series showcasing multiple stories about things that go bump in the night. Inspired by TV classics like The Twilight Zone and Tales from the Crypt, Dark Sanctum blends captivating storytelling with Mark's signature chilling audio and sound design in Dolby Atmos to transport listeners through a twisted and memorable audio thrill ride. He is a good friend of mine and always a very fun and exciting guy to talk to; please give it up for Mark Ramsey.  Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

Kane Senes & Hannah Barlow are the director duo behind Sissy, an Australian slasher comedy about bullying, social media, and the processing of trauma. Sissy was the opening night film of the prestigious SXSW Midnighters program and won multiple awards on the festival circuit before becoming a Shudder original. Prior to Sissy, Kane directed Echoes of War in 2015 and then For Now in 2019, which he co-directed with Hannah, making it her directorial debut. Sissy is now streaming on Shudder, so check it out.  Here are some key takeaways from the director team Kane Senes and Hannah Barlow, directors of Sissy: Channel fear and anxiety into your movie. Eli Roth said that he tries to ensure each movie he makes reflects a real fear of his, which is what makes his movies so personal and the fear elements of them so palpable. Kane and Hannah channeled their fear of this generation's social media angst into this movie, and it's very palpable. When you channel fears and anxieties that come from an authentic place into your movie, even as subtext, the audience is more likely able to feel it on a visceral level, which makes for great horror.  Fight for the things that will distinguish your movie. While location scouting, the directors found the perfect house to shoot at. It was beautiful, instagrammable, furnished beautifully, and added a ton of production value - the problem was it was a two-hour drive from where they were staying, meaning they'd lose four hours every day. Despite the fact that there was a perfectly feasible but underwhelming other option nearby, they picked that house anyway, and it gave the movie a really great look. In the fog of production, amidst all the complications and endless decisions, it's easy to say fuck it and let certain things go. Sometimes this is necessary but try to be cautious of this instinct, especially when it can cost you the things that will distinguish your movie. If you see the movie, you'll see that the house is very unique, and it gave the movie an entirely new level of production value. If you get these rare opportunities, consider taking them - they always cost something, though, so make sure it's worth it.    Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media

As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much much more. Jean Luc Herbulot is a Congolese writer & director known for Dealer (2014) and the TV show Sakho & Mangane. His most recent movie is Saloum, a Senegalese horror-thriller about a trio of mercenaries escaping the 2003 coup d'état in Guinea-Bissau before taking refuge in a hidden region on the Saloum river of Senegal only to be at the mercy of supernatural forces. So... I think I'm going to go ahead and say this was my favorite horror movie of the year. Yes, I know, SMILE, BARBARIAN, TERRIFIER 2, etc., etc., but there was something so fresh, so unique, and so stylish and memorable about this movie, the characters, the approach to horror, everything. I was thinking about the characters for weeks afterward, and overall, I thought it was a very fine film. There's just something very refreshing about being exposed to a culture you know very little about in the context of a horror movie that brings into the picture lesser-known supernatural legends. Africa is abundantly rich with mythology around monsters, ghosts, and demons, and Saloum dives into this while delivering a kick-ass movie. Seriously, just see it and let me know what you think. Jean Luc is a very passionate filmmaker and was a bunch of fun to talk to. We got into the making of Saloum, how he funded it with his own money and the difficulties and benefits of shooting in Senegal.  Here are some key takeaways from this conversation with Jean Luc.    Dig in untapped mines. Saloum was one of the freshest and most unique horror movies of the past few years. It made me realize the horror genre is getting saturated with very common western horror tropes that seem to repeat themselves. There are not a lot of African horror movies (two other really good ones are Atlantics and His House, both streaming on Netflix), but there are so many other countries, cultures, and mythologies to explore through horror. In the case of Jean Luc, there was a lot of rich African mythology to explore when crafting his supernatural horror element. Consider digging into the mythology of your own heritage for lesser-known stories that could lend themselves to horror. The genre needs it, and it's what keeps movies fresh, unique, and authentic.   Characters First. One of the strongest elements of Saloum was the characters. They were some of the coolest I've seen outside of the Tarantino universe, and like I said, I was thinking about them for weeks afterward and would love to see them show up in more movies. Jean Luc began with the characters about ten years before finally putting pen to paper to write Saloum. As a result, they were fully developed and came from his own want for African heroes in his youth. Consider crafting your characters first and then finding a story that allows them and their identities to shine.   Work that side hustle. Jean Luc funded the majority of the movie from profits made directing and producing commercials. With a concept like Saloum, it likely would have been difficult to apply for funding so having a side career that allows you to both flex your filmmaking abilities while making money in a way you can scale up and down gives you a ton of freedom. This might not be a realistic funding strategy for everyone, but it worked for Jean Luc. Consider using your directing abilities in other profitable arenas, and you might be able to fund all or part of your movie through that. In any case, don't forget to check out Saloum, now streaming on Shudder, and Jean Luc's tv show, Sakho & Mangane on Netflix. Thanks again for listening.  ----- Produced by Simpler Media

As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. This includes their creative processes, funding resources, favorite books & tools, key life lessons, and much much more. From Well Go Entertainment, The Loneliest Boy in the World is billed as a modern fairytale—except with zombies. When the sheltered and unsocialized Oliver is tasked with making new friends after the sudden death of his mother, he decides that digging up a few corpses might be his best bet. However, when he awakens the morning after his excavating escapades, he discovers that his newly acquired friends have mysteriously come to life overnight, launching them all into a series of misadventures as they try to keep their secret safe from neighbors, classmates, and social workers alike. So I enjoyed this movie a lot; it was super charming, funny, and surprisingly tear-jerking. It has many metaphors about bullying, tolerance, accepting people who are different and the notion of chosen family, and overall is a great example of mixing horror and heart, which I always love.  The movie could also be described as a family-friendly version of Idle Hands and, overall, is a great recent example of modern gateway horror, which I don't think there's nearly enough of.  Despite being rated R, which I don't understand, you can totally show this one to your kids, and I recommend you do.  Also, the production design on this movie is stellar, especially considering that they were on a budget. It has a strong nod to Edward Scissorhands as well as Hammer horror, and it's the kind of movie that looks like every production design detail was agonized over and is visually just beautiful.   The screenplay for The Loneliest Boy in the World has been around since the 80s and somehow took decades to produce before landing in the hands of British Director Martin Owen and his team. The movie also stars Max Harwood and Hero Fiennes Tiffin, and we have them all here for you today.    Here are some key takeaways from this conversation:  Always play it straight. The Loneliest Boy in the World features an ensemble cast of sentient zombies, but still, the movie manages to provide a deeply moving experience. Despite the absurdity of the situation, the actors play the roles straight and take it seriously, which helps the movie reach the viewer on an emotional level. A lot of horror movies are in danger of becoming campy, which can be a kiss of death if you want any emotional resonance, the way to avoid that is to have your actors treat the material with seriousness regardless of how absurd the situation is.    DON'T overthink it. When I asked Martin, very analytically, how he balanced the tones of horror, humor, and heart, he told me straight up that he basically just did it and didn't overthink it, and it worked... The movie has a very unique tone that's entirely its own. There are all sorts of exercises, archetypes, theories, and rules, etc., about how specific genres should be done but do we really need all of that? Yes, it's important to be aware of all of these rules, but at the end of the day, directors need to rely on their own creative intuition. Which brings me to my next point...   Learn all you can, then throw it all away. In an acting context, Max was talking about how he'd spent countless hours reviewing material for a role and then throwing it away and letting the material permeate through him naturally on the day. This concept applies to writing, directing, acting, just about any creative endeavor, and it comes down to being present and working with what's in front of you. Being over-analytical or over-attached to preconceived notions of things can be detrimental in any creative pursuit. Creative endeavors rely on presence, so learn all you can, throw it away, and let it emerge naturally. Doing this leads to more authentic, natural, ultimately more cohesive work.    Thank you for listening! Don't forget to subscribe.  ----- Produced by Simpler Media