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.

Latest Episodes:

THE DEAD THING Director, Elric Kane Feb 14, 2025

Show notes

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 Takeaways

Budget Wisely & Plan for Post & Deliverables

A 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 Less

According 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 Financing

Instead 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 Most

Filmmaking 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 movie. They said everything's coming in to fuck it up and destroy you, but you are the immune system keeping all the good stuff and the bad stuff out.

Show Notes

Movies Discussed

Cure (1997)
Pulse (2001)
Retribution (2006)
Morvern Callar (2002)
Lost Highway (1997)
Crimes of the Future (2022)
Repulsion (1965)
Rosemary’s Baby (1968)
The Tenant (1976)
The Shining (1980)
Don’t Look Now (1973)
Bad Timing (1980)
Pulp Fiction (1994)
Reservoir Dogs (1992)
Body Double (1984)
Snake Eyes (1998)
Femme Fatale (2002)
Friday the 13th series
Cockfighter (1974)

Follow Elric Kane at:

IMBd: https://www.imdb.com/name/nm1645790/
Instagram: https://www.instagram.com/elrickane/
Letterboxd: https://letterboxd.com/elrickane

COMPANION Co-editor, Josh Ethier Feb 07, 2025

Show notes

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 Josh

Look for the Note Behind the Note

Audience 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 Editor

The 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 Quality

Josh 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 NOTES

Movies Discussed

Companion (2024)
Almost Human (2013)
Contracted (2013)
Gretel & Hansel (2020)
We Are Still Here (2015)
First Blood (1982)
Jaws (1975)
Seven (1995)
Looper (2012)

Books & Resources

In the Blink of an Eye – Walter Murch
The Conversations: Walter Murch and the Art of Editing Film – Michael Ondaatje
Easy Riders, Raging Bulls – Peter Biskind
The Cutting Edge: The Magic of Movie Editing (Documentary)
Every Frame a Painting (YouTube Series by Tony Zhou)
The Rough Cut (Podcast by Matt Feury)
Steve Hullfish’s Art of the Cut (Book & Podcast)
Fangoria (Josh’s article on editing Companion)
Letterboxd (where Josh actively logs & reviews films)

Follow Josh Ethier at:

IMBd: https://www.imdb.com/name/nm3991275/
Instagram: https://www.instagram.com/joshethier/
X (Twitter): https://x.com/josh_ethier
LinkedIn: https://www.linkedin.com/in/joshethier/

WEREWOLVES Director, Steven C. Miller Dec 05, 2024

Show notes

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. Miller

Get a rallyer

One 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 moving

Steven’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 yes

Steven 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 with legends like Nicolas Cage, Bruce Willis, Sylvester Stallone, and Aaron Eckhart. His willingness to tackle all kinds of projects and have a track record of profitability ultimately led him to direct his ultimate dream project, Werewolves.

Show Notes

Movies Discussed

Werewolves
Automaton Transfusion
Dog Soldiers
The Howling
American Werewolf in London
Ginger Snaps
Late Phases
Underworld
Silver Bullet
Bad Moon

Misc Resources:

American Cinematographer Magazine
Panavision Stores

Follow Steven C. Miller at:

IMBd: https://www.imdb.com/name/nm1921345/
Instagram: https://www.instagram.com/stevencmiller/
X (Twitter): https://x.com/stevencmiller
Facebook: https://www.facebook.com/stevencmiller/

DON’T MOVE Directors Brian Netto and Adam Schindler Nov 27, 2024

Show notes

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 Notes

Movies Discussed:

Gravity
The Vanishing (1988)
Barbarian
Smile

Follow Brian Netto at:

IMBd: https://www.imdb.com/name/nm1826621/
Instagram: https://www.instagram.com/nettworxx/
Facebook: https://www.facebook.com/brian.netto.9/

Follow Adam Schindler at:

IMBd: https://www.imdb.com/name/nm2040169/
Instagram: https://www.instagram.com/adampatrickschindler/
Facebook: https://www.facebook.com/adam.schindler30/

LOVE BOMB Director, David Guglielmo Nov 15, 2024

Show notes

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 Notes

Movies & Inspirations

Love Bomb (David Guglielmo’s latest film)
Castle Freak (remake, written by Kathy Charles)
Jacob’s Wife
After Hours
Gone Girl
The Hand That Rocks the Cradle
Dressed to Kill
Blow Out
Body Double
Death Proof
It Follows
Under the Silver Lake

Books

Catching the Big Fish by David Lynch

Follow David Guglielmo at:

IMBd: https://www.imdb.com/name/nm0961027/
Instagram: https://www.instagram.com/davidaguglielmo/
X (Twitter): https://x.com/DavidAGuglielmo

ALL YOU NEED IS BLOOD Director, Cooper Roberts Nov 07, 2024

Show notes

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 Casting

Cooper 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 Feedback

While 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 Notes

Movies Mentioned:

Dead Alive (Braindead)
Toy Story 3
Toy Story 4
American Beauty
Loser
Coco
The Babadook
Kill Bill
Django Unchained
Terrifier (1, 2, and 3)

Books:

On Writing by Stephen King
The Creative Act: A Way of Being by Rick Rubin
Creativity, Inc. by Ed Catmull

Follow Cooper Roberts at:

IMBd: https://www.imdb.com/name/nm2843533/

THE BABADOOK Director, Jennifer Kent Celebrates 10 Years Sep 19, 2024

Show notes

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 Babadook.

Here are some key takeaways from this conversation with Jennifer:

Balancing Fear and Beauty: Horror doesn’t have to be purely bleak or nihilistic. Jennifer believes in blending horror with elements of beauty by finding light even in the darkest moments. In her conversation with Clive Barker, he emphasized that horror and beauty must coexist and that without beauty, horror feels incomplete. Jennifer echoes this sentiment, believing that horror with heart creates something far more powerful. While there’s a place for nihilistic horror, the combination of fear and emotional depth can elevate the genre into something extraordinary, where similar to chocolate and peanut butter the combination is greater than the sum of its parts.

Be stubborn. Perhaps the most important lesson Jennifer learned from working with Lars Von Trier is the need to stubbornly maintain control over the elements that matter most. This allows your films to have a singularity and can be the defining factor between having a distinct directorial signature or not.

That doesn't mean you should be intentionally difficult, but you must resist outside forces that try to sway or distract your vision. Jennifer has seen firsthand how systems can systematically wear down a director, diluting a film until it becomes unrecognizable from the original vision—homogenized and lifeless. As a filmmaker, you must fight tooth and nail for your vision, because in any creative pursuit, there will always be forces trying to destroy it.

Don’t underestimate sound. Jennifer highlighted the immense role that sound design plays in creating fear and tension in a film, especially in horror. For The Babadook, she spent as much time perfecting the sound as she did with the picture, emphasizing that sound makes up at least 50% of a horror film’s effectiveness. She worked closely with her sound designer to craft unique, unsettling sounds that amplified the psychological terror in the film with subtle effectiveness. Instead of relying heavily on music or jump-scare cues, Jennifer opted for sparse, carefully designed soundscapes that intensified the unease, often blending naturally into the environment. Jennifer recommends filmmakers experiment with sound to build tension and avoid signaling scares too early. Sound should evoke emotion and fear just as much as the visuals, making it an integral part of the storytelling process.

The Babadook is back in theaters starting today, Thursday, September 19th, through Sunday, September 22nd. Be sure to check your local listings and catch it on the big screen!

Show Notes:

Movies

The Babadook
Henry: Portrait of a Serial Killer
Cannibal Holocaust
Beetlejuice
The Tenant (Polanski)
Rec
Ordet (Carl Dreyer)
Fall of the House of Usher (French silent film)
Roman Polanski’s Horror Trilogy

Directors & Inspirations

Clive Barker
Mario Bava
Dario Argento
German Expressionism

Books & Resources

American Cinematographer Magazine (Babadook article)

Follow Jennifer Kent at:

IMBd: https://www.imdb.com/name/nm0448768/

The Howl - Your Past Month's Horror News - September, 2024 Sep 06, 2024

Show notes

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

Movies Discussed:

Beetlejuice
You Should Have Left (2020)
Jennifer's Body
Vivarium
Alien: Romulus
Predator vs Alien
Evil Dead (Remake)
Prometheus
Texas Chainsaw Massacre (2022)
Wolf Creek
Hell of a Summer (Upcoming)
Cuckoo
The Babadook
Shaun of the Dead
Deliverance (New Lee Daniels film)
Red Dragon
Manhunter
Hannibal (2001)

TV Shows:

Stranger Things
Hannibal

Books:

The Shining by Stephen King
Pet Sematary by Stephen King
The Exorcist by William Peter Blatty

Directors:

Zoe Kravitz (Mentioned for directorial debut)
Lee Daniels
Fede 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.shop

Follow Nick Taylor at:

Instagram: https://www.instagram.com/nicktaylorhorrorshow/

TikTok: https://www.tiktok.com/@nicktaylorhorrorshow

YouTube: https://www.youtube.com/@Nicktaylorhorrorshow

Website: www.nicktaylor.com

DANIEL ISN'T REAL Director, Adam Egypt Mortimer Aug 15, 2024

Show notes

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 Notes

Movies:

Some Kind of Hate
Daniel Isn’t Real
Arch Enemy
Bad Day at Black Rock
Easy Riders, Raging Bulls
The Exorcist
Persona
Fight Club
Alien
Videodrome
Bride of Frankenstein
Martyrs
Possession
Bug
Killer Joe
Honeymoon

Books:

Directing Actors by Judith Weston
The Director's Intuition by Judith Weston
Raging Bulls, Easy Riders by Peter Biskind
Tom Savini's Grande Illusions

Other:

Invader (Novel by Adam Egypt Mortimer and Brian Deleuw) FUNDED on Kickstarter https://www.kickstarter.com/projects/adamegypt/invader-novel

Follow Adam Egypt Mortimer at:

Instagram: https://www.instagram.com/adamegypt666/
X (Twitter): http://www.twitter.com/adamegypt
Website: adamegyptmortimer.com
IMBd: https://www.imdb.com/name/nm4008890/

DOCTOR JEKYLL Director Joe Stephenson (from Hammer Films) Aug 01, 2024

Show notes

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 Magical

Joe’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 Locations

Joe 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 Solving

The 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 NOTES

Movies:

Doctor Jekyll
Chicken
Great Expectations
Midas Man

Books/Novellas:

Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson

Follow Joe Stephenson at:

Instagram: www.instagram.com/joestephenson/
X (Twitter): http://www.twitter.com/JoeStephenson
IMBd: https://www.imdb.com/name/nm3087240/

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