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    TV & Film

    The Nick Taylor Horror Show

    Exploring the techniques, strategies, and key pieces of advice for aspiring horror directors, straight from the minds of some of the greatest filmmakers and creators in horror. Host Nick Taylor engages in one-on-one conversations with directors, producers, writers, actors and artists to uncover the keys to their creative and professional success in the horror business.

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    Copyright: © 2019 by American Nightmare Studios. All rights reserved.

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    Latest Episodes:
    THE BLACK PHONE 2 Composer | Atticus Derrickson Feb 27, 2026
    Show notes

    Atticus Derrickson is a composer and music producer who recently scored The Black Phone 2. He is also the son of Scott Derrickson, director of both Black Phone movies, Sinister, and many others. In this conversation, Atticus and I get into composing horror scores, how to achieve fear through sound design, and much much more.

    Show Notes

    Movies and TV Mentioned

    1. The Black Phone 2
    2. The Black Phone
    3. Sinister
    4. V/H/S 85
    5. Smile
    6. The Witch
    7. The Lighthouse
    8. Shadow Crawler (Short)

    People & Artists Mentioned

    1. Christopher Young
    2. Tangerine Dream
    3. Vangelis
    4. Cliff Martinez
    5. Mark Korven (including his “Apprehension Engine”)
    6. Throbbing Gristle
    7. Chris Carter (Throbbing Gristle member referenced in gear discussion)
    8. Ulver (band whose music is used in the Sinister tapes discussion)
    9. Scott Derrickson
    10. Joe Hill
    11. Adam Hendricks
    12. Lou Ford (editor)
    13. Luciano (sound designer)
    14. Marina Moore (string player)
    15. Robert Eggers

    Gear and Music Tech Mentioned

    1. Prophet synthesizer, including Prophet-5 and Prophet-10
    2. John Carpenter style synth
    3. Crystallizer pedal recreation from Dirt Monger Instruments
    4. Logic Pro X
    5. Canter reel (used to create drone textures)
    6. Dulcimer (used in experimentation)
    7. Atmos and surround mixing formats, including 5.1

    Physical Media

    1. Waxwork Records vinyl release for The Black Phone 2 soundtrack

    Key Takeaways

    Start early and let tone guide the whole production.

    Atticus began writing tonal score pieces before the script was even finished. That let production carry his music into the shoot, so the score could help dictate direction. A lot of those early pieces ended up in the final film because they already lived inside the world of the story—and inside the director’s head.

    This is why Atticus recommends avoiding temp tracks: they can be a trap, tying you to a specific (often derivative) sound instead of pushing you toward something new. Working this far upstream also allows for a more holistic approach to scoring the film. The tone and feeling of Black Phone 2 is one of the things that made it so distinctive, and a big reason is that the score was completely original rather than shaped by temp music.

    Merge score and sound design for unified texture.

    Atticus describes a constant collaboration with the sound designer and mixer so elements like static, wind, and snowy ambience could interlock with the music instead of competing with it. The goal was one cohesive system—where sound design and score feel like the same organism. As a result, the movie has a very strong sense of surrealism that makes you feel like you’re in a very beautiful nightmare.

    Protect what’s working.

    Atticus told a story about a final music cue that had to be shortened to fit the edit. When he tried to cut it down, he realized it damaged the overall effect, so he fought to keep the full cue intact—and won. As a result, the scene works beautifully. Whether it’s a music cue or any other element, sometimes something is perfect as-is and it’s the surrounding pieces that need to be reshaped to support it. When something is working, protect it.

    Follow Atticus Derrickson at:

    1. IMBd: https://www.imdb.com/name/nm12279894/
    2. Instagram: https://www.instagram.com/atticusderrickson
    3. Spotify: https://open.spotify.com/artist/1ZAQG5e9sxTTkxKjr5OcLs?si=bT32GgkJTpKHqThqabqT1A


    Horror Hangout | Whitney Moore Feb 24, 2026
    Show notes

    Whitney Moore is an actress, writer, director, and lifelong horror fan whose work spans indie genre films, hosting, and original creative projects. Whitney is known for her sharp perspective on horror culture, including her time hosting Bloody Disgusting’s This Week in Horror. She has also appeared in films such as Birdemic: Shock and Terror, Satanic Panic, and most recently, Bennie Safdie’s The Smashing Machine.

    In this episode, Whitney and I geek out about all things horror, including our favorite gateway horror, what’s shocked each of us recently, and why body horror resonates as strongly as it does in today’s culture. On today’s episode of The Nick Taylor Horror Show, please give it up for Whitney Moore.

    Show Notes

    Movies Mentioned

    1. The Smashing Machine
    2. Bring Her Back
    3. Henry: Portrait of a Serial Killer
    4. Evil Dead Rise
    5. The Monkey
    6. The Blackcoat’s Daughter
    7. I Am the Pretty Thing That Lives in the House
    8. Poltergeist
    9. Child’s Play
    10. Scream (franchise)
    11. It (new entry referenced via trailers)
    12. Five Nights at Freddy’s
    13. Are You Afraid of the Dark? (series)
    14. Who Framed Roger Rabbit
    15. The Goonies
    16. The Addams Family (animated films referenced)
    17. Hotel Transylvania (franchise referenced)
    18. Zootopia
    19. Fallout (series)
    20. Twin Peaks (series)
    21. Lost Highway
    22. Humanist Vampire Seeking Consenting Suicidal Person
    23. The Ugly Stepsister
    24. 28 Years Later
    25. Bone Temple
    26. May (2002)
    27. Valentine
    28. Heart Eyes
    29. Natural Born Killers
    30. Ready or Not
    31. Abigail
    32. M3GAN
    33. M3GAN 2.0
    34. Drag Me to Hell
    35. Send Help
    36. Primate
    37. Chimp Crazy (docuseries)
    38. Tiger King (docuseries)
    39. The Cove (documentary)
    40. Flipper (referenced via dolphin trainer context)
    41. Jaws
    42. Plan 9 from Outer Space

    Books and Resources

    1. Carl Jung and “shadow work” (discussed as a framework for horror and self-understanding)
    2. David Lynch book on Transcendental Meditation

    Follow Whitney Moore at:

    1. Website: https://www.gimmemoore.com/
    2. What’sGood, Whitney’s newsletter: https://www.gimmemoore.com/join
    3. IMBd: https://www.imdb.com/name/nm3179972/
    4. Instagram: https://www.instagram.com/whitneysmoore/
    5. X (Twitter): https://x.com/tweetneymoore
    6. Facebook: https://www.facebook.com/mooreofwhitney/


    NO ME SIGAS | Directors Eduardo Lecuona & Ximena García Lecuona Feb 20, 2026
    Show notes

    Eduardo Lecuona and Ximena García Lecuona are the writer/director duo behind the Blumhouse found footage/narrative hybrid film No Me Sigas, which translates to Do Not Follow Me.

    No Me Sigas is Blumhouse's first original Spanish-language horror film, a Mexican supernatural thriller that follows Carla, an aspiring influencer, who fakes hauntings in her apartment for viral fame, only to accidentally summon a real malevolent entity that blurs the line between staged content and genuine terror. The film blends narrative filmmaking with a found footage–style mixed media approach, including social media footage, security cams, and iPhone footage, among more. No Me Sigas is now streaming exclusively on Hulu.

    In this episode, Eduardo and Ximena talk about their approach to analog horror and modern found footage, as well as their extensive and fascinating process for paranormal research, which included attending live witchcraft rituals.

    On today’s episode of The Nick Taylor Horror Show, here, without further ado, are Eduardo Lecuona and Ximena García Lecuona.

    Key Takeaways

    Research isn’t just facts—it’s proximity.

    Ximena didn’t just watch videos and read books about the paranormal. She went to rituals, talked with real witches, met shamans, and witnessed a ceremony involving a possessed doll. That lived exposure helped her build lore with details that feel internalized instead of invented. When your film touches a subculture or belief system, respectful proximity (conversations, observation, participation when appropriate) often yields better story texture than Wikipedia.

    Scares are designed three times: pre-pro, production, and post.

    The team literally named their scares in the shot list (“closet scare,” “phone scare”), and on set they gave those moments extra priority and extra time. But in the edit, they realized everything could change, as sound and music can entirely reshape how a scare lands. As a horror filmmaker, scares are one of the most important elements to get right, so you should take extra care to plan them out as thoroughly as possible.

    In matters of the occult, set culture matters.

    The filmmakers both come from spiritual families and, as a result, did lengthy protection rituals before shooting in famously haunted buildings in Mexico City. Regardless of anyone’s personal beliefs, this kind of practice can unify a crew psychologically by reinforcing the idea that “we’re protected, we’re intentional, we’re respectful.”

    Spirituality and the supernatural can be highly charged subject matter, and crew members will likely have a mixture of beliefs. It’s important to establish rituals of care—spiritual, practical, or both—whether denominational or not. Managing spiritual morale can be just as important as managing physical well-being.

    Show Notes

    Movies and Shows Mentioned

    1. Paranormal Caught on Camera
    2. The Texas Chain Saw Massacre
    3. The Blair Witch Project
    4. Paranormal Activity
    5. Cannibal Holocaust
    6. Man Finds Tape
    7. Dream Eater
    8. Shelby Oaks
    9. Annabelle
    10. Chucky
    11. The Conjuring
    12. Ninja Scroll
    13. Paprika
    14. Akira
    15. Perfect Blue
    16. Grave of the Fireflies
    17. Mexican influencer Carlos Na, referenced as a real-world inspiration point for paranormal faking

    Follow Eduardo Lecuona at:

    1. IMBd: https://www.imdb.com/name/nm5280326/
    2. Instagram: https://www.instagram.com/pollolec/

    Follow Ximena García Lecuona at:

    1. IMBd: https://www.imdb.com/name/nm8581206/
    2. Instagram: https://instagram.com/ximenena_/
    3. X (Twitter): https://x.com/xime_lecuona


    MISDIRECTION’S Kevin Lewis & Oliver Trevena Feb 13, 2026
    Show notes

    Kevin Lewis and Oliver Trevena are the director and producer duo behind Misdirection, a contained neo noir thriller with Frank Grillo that builds a surprisingly big world inside a single location. Misdirection follows a couple driven to carry out a series of high-end heists to pay off a dangerous mob debt. When their latest break-in spirals out of control, the pair find themselves caught in a web of secrets, deception, and deadly consequences. Misdirection is now available on Digital from Cineverse. Shot in Serbia over fifteen nights on a small budget, the film is a case study in fast prep, actor focused directing, and the kind of persistence it takes to pull an indie feature across the finish line.

    Here, without further ado, are Kevin Lewis and Oliver Trevena.

    Key Takeaways

    Relentlessness is a producing skill, not a personality trait. Misdirection went through consistent bouts of turbulence. Funding gaps, broken promises, Murphy’s Law persisted all the way up to roughly five days before shooting. Oliver was told by multiple people to forget about the project and let it go, but he didn’t. The takeaway is that persistence isn’t just motivational jargon, it’s a core production competency. If the producer stops pushing, the movie collapses. Misdirection took years to get off the ground, and the film only exists because Oliver and Kevin refused to let it die. Many people think movies are bought and sold based on the market itself, but that’s not always the case. Sometimes beating a movie into production through sheer will and force is the only path forward.

    Speed unlocks instinct. Shooting in fifteen nights removed hesitation. With no time to overthink, decisions became intuitive and committed. That urgency created momentum and helped performances and directorial choices feel alive rather than labored. It’s always ideal to have more time, but there’s creativity in limitations, and some casts and crews work better under pressure.

    Prep is freedom: obsess early so you can adapt fast later. Thrillers demand airtight logic. Kevin mapped character movement, information reveals, and physical continuity in advance so nothing unraveled under pressure. Thorough prep made the fast pace possible. Kevin calls himself a “big prepper”—months of notes, multiple contingency plans (A/B/C/D), then recalibrating once they were on set. He also describes basically hermitting in his hotel room instead of socializing because every hour on set equals money. The lesson isn’t to “be rigid”—it’s the opposite: deep prep lets you pivot without breaking story logic when the location or constraints change. As Churchill said, plans can be useless but the act of planning can be priceless.

    Show Notes

    Movies and Projects Mentioned

    1. Misdirection
    2. Paradox Effect
    3. John Wick
    4. Wick Is Pain (John Wick documentary)
    5. Who’s Afraid of Virginia Woolf?
    6. Drive
    7. Werewolves

    Follow Kevin Lewis at:

    1. IMBd: https://www.imdb.com/name/nm0507425/
    2. Instagram: https://www.instagram.com/kevinlewisofficial

    Follow Oliver Trevena at:

    1. IMBd: https://www.imdb.com/name/nm3165541/
    2. Instagram: https://www.instagram.com/olivertrevena/
    3. Website: ollywoodmedia.com


    STRANGE HARVEST Director, Stuart Ortiz Feb 06, 2026
    Show notes

    Stuart Ortiz is a film director, writer, producer and one of the founding members of The Vicious Brothers, the filmmaking duo behind Grave Encounters 1 and 2.

    Stuart’s most recent feature is Strange Harvest, a true-crime–styled, found footage film he wrote and directed.

    Strange harvest is a serial-killer faux documentary that effectively weaponizes the aesthetics of Netflix true-crime docs by luring you into a false reality with a familiar documentary style then turning up the horror with deeply unsettling imagery that looks and most importantly, feels very real.

    It’s certainly one of the most unflinching and innovative found footage movies in recent years and has earned plenty of special praise for its naturalistic performances, grisly practical effects and overall dread.

    In this conversation, Stuart and I get into his career history, the making of Strange Harvest and how to execute modern found footage with high impact and a low budget, on today’s episode of The Nick Taylor Horror Show.

    Without further ado, here is Strange Harvest Director, Stuart Ortiz.

    Key Takeaways

    Embrace CGI strategically as a problem solver. A lot of purist horror cinephiles grumble at the use of CGI, and I agree that it shouldn’t be overused—but it also shouldn’t be avoided, because it can solve colossal problems. The pool scene is a perfect case study: filling an Olympic-sized pool would have required roughly 35,000 gallons of water, which was both budget-killing and ethically questionable during a drought. Instead, Stuart used VFX to build the water and environment, and it wasn’t even all that expensive. Use CGI where it’s the cleanest solution to a real-world constraint, and save practical effects for what sells the tactile reality.

    Indie budgeting is often about where you don’t spend. Stuart minimized spending on a large crew, expensive cameras, and elaborate lighting because the format called for rough, archival-style imagery and on-the-fly filmmaking. Instead, he spent heavily where failure would be fatal: special FX makeup, which made up about 15–20% of the budget. He knew horror audiences would be especially scrutinizing when it came to effects (and he was right), so he spent disproportionately in that area—and it clearly paid off. Budgeting a movie can be complicated, but Strange Harvest proves that it’s important to spend where you’ll get the highest return on your investment.

    Wear more hats than you’re used to. Stuart states that it’s unrealistic for directors to “just” direct nowadays, especially on micro-budgets. Strange Harvest exists largely because Stuart didn’t just direct—he also wrote, edited, and produced the film. On top of that, much of the crew wore multiple hats across the board, which is ultimately how the movie was able to get made. It may not be glamorous, but it’s how movies actually get finished.

    Show Notes

    Movies and Shows Mentioned

    1. Strange Harvest
    2. Grave Encounters
    3. Lake Mungo
    4. The Poughkeepsie Tapes
    5. Tiger King
    6. The Blair Witch Project
    7. Ghostbusters
    8. Ghostbusters 2
    9. True Detective Season 1
    10. The Wall (Pink Floyd film)
    11. The Ritual
    12. Hellraiser (newer entry referenced via makeup artist credits)
    13. The Dark Knight (referenced via production design work)
    14. The Vault
    15. The Black Phone (mask design reference)
    16. Heart Eyes (mask design reference)

    Podcasts

    1. My Favorite Murder

    Follow Stuart Ortiz at:

    1. IMBd: https://www.imdb.com/name/nm3425513/
    2. Instagram: https://www.instagram.com/stuart_ortiz
    3. X (Twitter): https://x.com/StuartLOrtiz
    4. Website: https://stuartortiz.com/


    MAN FINDS TAPE Directors, Peter Hall and Paul Gandersman Jan 23, 2026
    Show notes

    Peter Hall and Paul Gandersman are the writer/directors behind Man Finds Tape, a faux documentary horror film that uses mixed media, curated “evidence,” and found footage logic to tell a cosmic horror story about a malevolent force that overtakes a small town. In this episode, Peter and Paul break down how the making of Man Finds Tape, including how they approached the cinematic language of using a multitude of different types of cameras and filmmaking styles to achieve their signature blend of found footage and cinematic surrealism. On today’s episode of The Nick Taylor Horror Show, here, without further ado, are Peter Hall and Paul Gandersman.

    Key Takeaways

    Take what your actors give you.

    Paul and Peter discuss a situation where their actors came to a character meeting so well prepared that they as directors were able to sit back and let the actors figure out all of the backstory themselves. The actors braistormed without their involvement for about an hour and did a ton of heavy lifting. More egotistical directors would have stepped in and asserted themselves but Paul and Peter had the good sense to realize that their actors were locked into their characters to such a high degree and they let them drive. When this happens it’s magic, but so many people ruin it by being precious. This is a two part lesson, one, hire actors who can also be collaborators and 2, when they start figuring things out on their own, give them ownership and get the fuck out of their way.

    Target personal fears, over generic scares.

    Peter and Paul mentioned a term I’d never heard before, trypophobia which is an intense, irrational fear or disgust triggered by looking at clusters of small holes, bumps, or intricate, repetitive patterns. They integrated this fear and unease into their body horror effects and even though I didn’t have this phobia before, I think I might it after watching this movie. There’s something very effective about tapping into irrational and obscure fears because they’re more common than you think. Human beings have all kinds of evolutionary neurosis that you can explore and exploit as a filmmaker to give your movies a surgical level of unease. This is a fascinating and fertile ground to harvest and worth studying.

    Tone and vibe over exposition.

    The movie has a masterfully constructed tone of dread that is very singular to Man Finds Tape. Constructing a frequency for your movie that’s this sharp and affecting is one of the most challenging aspects of filmmaking, and it’s on full display here. Peter and Paul discussed how when they were editing the movie, they focused more on the feeling the movie would evoke, rather than getting bogged down in plot specifics or exposition. Ultimately, your audience will reflect on how the movie made them feel instead of what the plot revealed. David Lynch is a master of doing this; evoking feeling without having much concern for exposition.

    Show Notes

    Movies Mentioned

    1. Man Finds Tape
    2. Lake Mungo
    3. The Blair Witch Project
    4. V/H/S
    5. Shelby Oaks
    6. Dream Eater
    7. Strange Harvest
    8. 28 Years Later
    9. Something in the Dirt
    10. Psycho
    11. The Shining
    12. Harry and the Hendersons
    13. Best in Show
    14. This Is Spinal Tap
    15. Ninja Scroll

    Books and Resources

    1. Junji Ito
    2. H. P. Lovecraft
    3. Tim Ehl’s liminal videos on Instagram
    4. South by Southwest documentary reference: Capturing Bigfoot

    Follow Peter Hall at:

    1. IMBd: https://www.imdb.com/name/nm4296678/
    2. Instagram: https://www.instagram.com/peterhallhuman
    3. X (Twitter): https://x.com/PeterHallHuman

    Follow Paul Gandersman at:

    1. IMBd: https://www.imdb.com/name/nm2821596/
    2. Instagram: https://www.instagram.com/paulgandersman/
    3. X (Twitter): https://x.com/Paul_Gandersman


    GOOD BOY Director, Ben Leonberg Jan 09, 2026
    Show notes

    Ben Leonberg is the writer and director of Good Boy, the breakout indie horror film told entirely from the point of view of a dog. Shot over three years with a crew of three people and made for under seventy thousand dollars, Good Boy became a theatrical and streaming success, earning over $8 million at the box office, mostly due to its inventiveness, emotional depth, and commitment to a single, bold idea.

    In this episode, Ben tells us the whole story behind Good Boy, from humble beginnings to box office breakout. He also gets into the details behind shooting horror from a dog’s point of view, the critical importance of sound design in horror, and the practical lessons he learned while shooting more than four hundred days with his dog Indie.

    Here are some key takeaways from this conversation with Ben Leonberg.

    Limitations can be a feature, not a bug

    Ben’s process making Good Boy was a masterclass in embracing creative limitations. From directing a dog who couldn’t take cues, to shooting without a traditional crew, all while working within a $70,000 budget, Ben built the film around his constraints instead of fighting them. He followed the classic Robert Rodriguez rule: write the movie around what you already have. In Ben’s case, that meant a dog and an old cabin.

    He and his wife shot most of the movie themselves, structuring the entire production around their available resources. The mindset of designing a film around what you can uniquely do is a powerful model for indie filmmakers. In Ben’s case, those constraints led to a strikingly original idea: a horror movie told entirely from the perspective of a dog. That single choice shaped every creative decision; camera height, lensing, blocking, editing, sound, and pacing. What began as a limitation became the film’s identity.

    Sound is vital for horror

    As we’ve covered many times, in horror, sound goes a long way, and Jennifer Kent, Director of The Babadook, even says it’s just as important as your visuals. In Good Boy, which had minimal traditional exposition or visual cues, sound became essential—not just for scares, but for tone, tension, and atmosphere. Composer Sam Boutilier went so far as to build a custom instrument to create the film’s signature eerie, otherworldly tones that had never been heard before. For horror filmmakers working with limited budgets, sound design isn’t just a finishing touch but an opportunity to elevate the entire film.

    A long production timeline can be an advantage

    The film was shot over three years, across more than 400 shoot days. With such a small team and total control over gear and scheduling, Ben was able to work slowly and deliberately, testing ideas, reshooting scenes, refining edits, and evolving the movie over the course of years. In most productions, time is the scarcest and most expensive resource. But when you own the entire timeline, time becomes your biggest asset because it gives you the space to problem-solve creatively, discover better choices, and polish your film beyond the limits of its budget.

    Show Notes

    Movies Mentioned

    1. Good Boy
    2. Poltergeist
    3. The Shining
    4. Psycho
    5. Jaws
    6. Raiders of the Lost Ark
    7. Duel
    8. Drag Me to Hell
    9. The Innocents
    10. Smile
    11. One Bedroom
    12. In a Violent Nature
    13. 101 Dalmatians

    Follow Ben Leonberg at:

    1. IMBd: https://www.imdb.com/name/nm3828044/
    2. Instagram: https://www.instagram.com/ben_leonberg/
    3. LinkedIn: https://www.linkedin.com/in/ben-leonberg-ab797556/
    4. Website: https://www.benleonberg.com/


    NIGHT OF THE REAPER Director, Brandon Christensen Dec 12, 2025
    Show notes

    Brandon Christensen is a Canadian filmmaker and VFX artist whose directorial work includes Night of the Reaper, Superhost, Puppet Man, and VFX work on multiple films with a particularly close collaboration with Joe Begos on VFW, Bliss, Jimmy and Stiggs, and Christmas Bloody Christmas.

    In this conversation, Brandon walks through the making of Night of the Reaper, his latest film, which is a nostalgic 80’s style slasher with very heavy Halloween vibes. Brandon also gets into how to consistently make films with limited resources, why he takes on editing and VFX himself, and how to achieve compelling period production design on a budget.

    Key Takeaways

    Design period detail around what exists.

    To create an authentic 1980s vibe without a big period budget, Brandon’s team scouted unchanged locations, bought used furniture and TVs, and leaned on production people who could find pockets of the past. When money is limited, good location scouting and clever prop reuse do most of the heavy lifting.

    Wearing many hats saves money and shapes the film.

    Brandon edits and does VFX on his films because it keeps the money on screen and lets him really control everything from tone to pacing. This equation means lower overhead and a highly personal imprint on every frame, but be cautious because it also makes criticism sting even more because much more of the work has been done by you. So if you take on multiple roles, expect both the creative control and the emotional cost.

    Make the movie you can actually make.

    Brandon survived multiple financing setbacks by refusing to let the project die. When previous investors walked, he scaled down the project according to the money that existed. The result was a finished film rather than a stalled ambition. Practical lesson: prioritize completion over perfection because careers are contingent on forward momentum and experience. His repeated, practical advice to creators: do not overcomplicate your first projects. Shoot small, fail quietly, learn fast. The path deepens by doing, not by waiting for the perfect package or deal.

    Show Notes

    Movies Mentioned

    • Night of the Reaper
    • Superhost
    • Puppet Man
    • Stillborn
    • It Stains the Sands Red
    • VFW
    • Bliss
    • Jimmy and STIGs
    • Christmas Bloody Christmas
    • House of the Devil
    • Stranger Things
    • When a Stranger Calls
    • Scream
    • Rosemary’s Baby
    • Donnie Darko
    • Pulp Fiction
    • Avengers: Infinity War
    • Weapons

    Follow Brandon Christensen at:

    • IMBd: https://www.imdb.com/name/nm3417134/
    • Instagram: https://www.instagram.com/thebrandonchristensen/
    • X (Twitter): https://x.com/thebrandonc85
    • Facebook: https://www.facebook.com/brandonchristensendirector/
    • Website: http://thebrandonchristensen.com/


    The Science of Horror: Recreational Fear Lab Nov 20, 2025
    Show notes

    Show Notes

    Movies Mentioned

    • Get Out
    • Psycho
    • Carrie
    • Friday the 13th (franchise)
    • Sharknado
    • The Exorcist
    • Hereditary
    • Contagion
    • The Evil Dead
    • An American Werewolf in London
    • The Fly
    • Weapons

    Books and Stories

    • Grimm’s Fairy Tales (Brothers Grimm)

    Follow Marc Malmdorf Andersen at:

    • LinkedIn: https://www.linkedin.com/in/marc-malmdorf-andersen-b2a67826a/
    • Website: https://pure.au.dk/portal/da/persons/mana%40cas.au.dk
    • Bluesky: https://bsky.app/profile/ndersen.bsky.social

    Follow Mathias Clasen at:

    • Website: https://www.au.dk/en/mc@cc.au.dk
    • YouTube: https://www.youtube.com/user/mathiasclasen
    • X (Twitter): https://x.com/mathiasclasen

    Follow Recreational Fear Lab at:

    • Website: fear.au.dk
    • X (Twitter): https://x.com/recfearlab


    The filmmakers of DREAM EATER, Jay Drakulic, Mallory Drumm & Alex Lee Williams Oct 24, 2025
    Show notes

    Jay Drakulic, Mallory Drumm, and Alex Lee Williams are the filmmakers behind Dream Eater, a Lovecraft-inspired found-footage horror film shot on a shoestring budget in a remote Quebec cottage.

    When their original project lost funding, they rebuilt it from scratch, turning their setbacks into a creative advantage and crafting an intimate, atmospheric story about dreams, dread, and an unraveling relationship.

    The movie may be called Dream Eater, but the filmmakers’ story is a dream come true; powered by positive word of mouth and support from the online horror community, Dream Eater found a passionate audience and ultimately caught the attention of Eli Roth, who acquired the film and released it under his new horror production banner, The Horror Section.

    I really loved this interview, I connected with the filmmakers personally and found them to be very cool and inspiring because this story is very much in line with those of The Blair Witch Project and Paranormal Activity in terms of the ingenuity and tenacity among filmmakers who adapt and adapt and don’t take no for an answer and get their movies made regardless of anything and ultimately is what this podcast is about.

    Key Takeaways

    Transmutation: Turn limitations into opportunity and never submit to defeat.

    The creators of Dream Eater originally had a larger-scale, higher-budget project in motion — until the funding fell through. Rather than throw their hands up and walk away, they went back to the drawing board and scaled their concept into something they could afford to shoot. Casting actors was out of reach due to the demanding conditions, so they cast themselves.

    There’s a massive lesson here in adaptability: as a filmmaker, you have to play the hand you’re dealt and make the movie you can make when you can make it. Hopefully, the next one has a bigger budget — but regardless of what you’re working with, the movie you can make now will be way better than no movie at all.

    Micro crews need macro output.

    An eight-person team meant every crew member wore multiple hats. When hiring for crew, it’s common for crew members to expect to stay in their lanes — and that’s completely understandable particularly in the context of union filmmaking. But on a micro-budget production, the mindset of “that’s not really my job” can be radioactive. Your crew needs to be down for the chaos you’re about to unleash.

    But of course, be fair and be reasonable; pay what you can — either in cash or points — but take the time to find a crew that’s truly in it with you and willing to wear multiple hats. But here’s the caveat, as the filmmaker, you must always be the hardest-working person on set.

    Find your audience where they already are.

    The Dream Eater team built buzz through festivals and the online horror community, most notably TikTok’s HorrorTok — a vibrant ecosystem of horror influencers and fans. Thanks to a few key TikTok creators, buzz about the film went viral, which got the attention of Eli Roth.

    When promoting a film, it’s essential to know, understand, and ideally befriend the horror community. HorrorTok played a major role in the success of Dream Eater, and it’s a reminder that one of the most effective ways to support your art is by authentically engaging with the people who love the genre as much as you do. Understanding marketing is crucial — but connection is everything.

    Show Notes

    Movies and Works Mentioned

    • Dream Eater
    • Asleep (original concept)
    • The Nightmare (Rodney Ascher documentary)
    • Dagon
    • In the Mouth of Madness
    • The Blair Witch Project
    • Evil Dead
    • Phantasm
    • The Exorcist
    • Jaws
    • Psycho
    • Spun
    • The Pest

    Books and Myth Sources

    • H. P. Lovecraft stories including The Dreams in the Witch House, The Outsider, and At the Mountains of Madness

    Festivals, Communities, and People

    • H. P. Lovecraft Festival (Portland, OR)
    • Found-footage festivals in San Francisco
    • TikTok’s Horror Talk community
    • Influencers including “Uncle Chuck” and others who championed the film
    • Peter Kuplowsky and TIFF Midnight Madness (mentioned as festival reference)
    • Eli Roth (acquired the film)
    • Beyond Fest (Egyptian Theatre screening)

    Follow Jay Drakulic at:

    • IMBd: https://www.imdb.com/name/nm6599086/
    • Instagram: https://www.instagram.com/jaydrakulic/

    Follow Mallory Drumm at:

    • IMBd: https://www.imdb.com/name/nm6896430/
    • Instagram: https://www.instagram.com/mallorydrumm/
    • LinkedIn: https://www.linkedin.com/in/mallory-drumm-5a961745/

    Follow Alex Lee Williams at:

    • IMBd: https://www.imdb.com/name/nm4296484/
    • Instagram: https://www.instagram.com/richdammrich/
    • LinkedIn: https://www.linkedin.com/in/alex-lee-williams-81723027/


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