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. 

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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. 

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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. 

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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. 

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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. 

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Kevin Lewis is the director of multiple features, including The Method, Downward Angel, The Drop, and The Third Nail. Last year, Kevin wowed the horror crowd with Willy's Wonderland starring Nicolas Cage, and now Kevin is back in the director's chair with his latest creation, The Accursed.

When Elly is asked by a family friend to spend a few days looking after an elderly woman living in a remote cabin, she readily agrees, thinking a short trip to the woods will be a nice escape, but the cabin turns out to be anything but relaxing as Elly begins hallucinating in ways that blur reality with her dreams. As the visions take over, Elly realizes that she was lured there by a demonic presence hiding inside of the woman, just waiting to break free.

I loved this movie, and it's hands-down one of my favorites of the year. The Accursed is a refreshingly, unabashedly fun horror movie that delivers fun and scares in equal measure on a Sam Raimi level. The Accursed is streaming on VOD beginning tomorrow, October 14th, and I recommend you put it toward the top of your Halloween watchlist - the first five minutes alone are worth the price of admission.

This is actually my second time speaking to Kevin, and if you haven't listened to the first episode, I actually recommend hearing this one first. This talk with Kevin turned out to be one of the most practical and inspiring conversations I've ever had on the podcast. Kevin is just such the real deal when it comes to directing and his level of enthusiasm is infectious, and he has many wise words for all of us. I really love this episode and will return to it frequently. Without further ado, here is the director of The Accursed, Mister Kevin Lewis.

Here are some key takeaways from this interview with Kevin: 

Hook them from the beginning. 

Pay close attention to the opening sequence of The Accursed, it's not only riveting, but it's a fully developed story in about five minutes. This is not only a pretty cool way to open a movie from a narrative perspective, but it's what hooked Kevin into jumping on board when he first read the script. Whether you're a writer or director, hooking the audience in the first five minutes can be very powerful, especially in horror. I really recommend studying the opening sequence of The Accursed in this context as it's a masterful example.

Know what’s important. 

In his years of directing, Kevin has learned that one of the most important skills a good director has is understanding where to invest in each movie, not just money but time, effort, energy, and focus.  When making movies, you likely won’t nail every ambition you have with each film, but you need to take an inventory of what’s most important for each individual movie and its production value and then prioritize those things above all else, especially when you're on a budget. To not do that makes you subject to being spread too thin and your movie being flat. If you get just a few things really right on your movie, your audience will likely forgive just about everything else, but it's important to know what those things are that will make the most impact. There's that saying if you chase two rabbits, you won't catch either one. Don't try to nail everything on every movie; figure out what's most important and focus obsessively on those things.

Live your life. 

When it comes to a career in filmmaking, living a fulfilling and interesting life is important, not only for the sake of your creativity but for the sake of your longevity. As Kevin stated, the movie industry is tough and ruthless, and if you let it rule your life, it will run you into the ground and burn you out. At age 51, Kevin is having his heyday with a killer one-two punch between Willy's Wonderland and now The Accursed and multiple more movies on the way. Kevin is also a father of four and has lived his life his own way without letting the industry wear him into the ground. In other words, he didn't feel the need to sell his soul to Hollywood and sacrifice what mattered to him most, and I think this is a huge lesson.

Clearly, it's critical to be obsessively dedicated to your filmmaking craft, but detaching from this grueling industry will not only re-energize you but make you less desperate and more likely for your mind to be open and objective enough to put your best work into your project.

Anyway, thank you as always for listening - if you want to hear more from Kevin, go back and check out Episode 72, which is way more comprehensive about Kevin's backstory and the making of Willy's Wonderland. Also, don't forget to check out The Accursed, streaming on VOD, beginning tomorrow - you will not be disappointed. 

Thank you for listening! Don't forget to subscribe. 

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Deadstream is the feature directorial debut from husband-and-wife filmmaking team Vanessa and Joseph Winter that follows a disgraced internet personality who attempts to win back his followers by livestreaming one night alone in a haunted house. But when he accidentally pisses off a vengeful spirit, his big comeback event becomes a real-time fight for his life.

Deadstream was a ton of fun. As a horror comedy, I was laughing pretty much throughout the course of this film which was legitimately, consistently funny. The movie even manages to pull off some legitimate scares with a surprisingly well-developed ghost story at its core. Deadstream was a sort of new breed of found footage that could be best described as livestream horror and was shot with a notably clever use of multi-cams to tell its story. All of that, plus a solid amount of gore and some very fun creature effect made Deadstream one of my favorites of the year. Don't forget to check Deadstream out on Shudder when it comes out tomorrow, October 14th.

This was a really fun conversation with Joseph and Vanessa as we got into how they got Deadstream off the ground during the beginning of the pandemic, their very insightful festival strategy, and real ghost stories about their production, which shot at an actual abandoned haunted house.

And now, please give it up for the writers and directors of Deadstream, Vanessa and Joseph Winter.

Filmmaking is the best film school.

Deciding to make your first film is one thing, but deciding what to make your first film on is a recipe for analysis paralysis, which is dangerous because it can last for an endless amount of time. However, approaching your first movie as strictly educational can be incredibly liberating. Joseph and Vanessa knew they wanted to make a feature and were able to offshoot a lot of concerns about things like the movie's financial success because they viewed the movie as a learning experience and a way to get a crucial skills that would serve them throughout the course of their careers. In the end, they learned a ton and delivered a kick-ass movie in the process. Coincidentally, offloading all of these concerns about your film can even contribute to the likelihood of your success as you're more likely to be creatively freed up to give your movie the energy and attention it deserves because you're putting less pressure on yourself.

Don’t sell yourself short. 

It's incredibly easy to be too humble about your first feature. When they first started submitting to festivals, Vanessa and Joseph got some initial acceptances from smaller festivals and were understandably overjoyed. One of their associates recommended they submit to some bigger festivals, which would have meant withdrawing from the festivals they were accepted by. They were scared by this decision but did it anyway. In the end, the film got into multiple big festivals, including SXSW, ultimately leading to a deal with Shudder. Despite working extremely hard for years and putting everything they have into it, many filmmakers will still sell themselves short on their first feature as it's easy to be insecure about your lack of experience. Difficult as it may be, try to avoid this trap as there's usually very little harm in aiming too high while aiming too low can doom your movie to a smaller existence.

Create test screenings with peers. 

Everyone knows that when working on your own movie, it's nearly impossible to be completely objective about it by yourself because you're way too close to it. One of the best ways to get real feedback in real time is to have an in-person peer screening. In-person screenings are way more effective than sending people screening links and asking for feedback because they're less likely to be completely honest with you, and you cannot observe them directly. Observing the collective reactions of a shared audience is an excellent tool to understand things like pacing and where the laughs & scares are and aren't. Doing so enables you to have this sense of audience empathy so you can see what works and doesn't work about your movie from the audience's perspective to inform your next edit. Another note, it's best to put these together yourself, as most of the test screenings orchestrated by studios and film companies can be full of the wrong people who can give you unhelpful feedback. Joseph and Vanessa kept their test screening to about 30 people, which seems like a magic number.

Anyway, guys, don't forget to check out Deadstream streaming on Shudder beginning October 14th - it is a ton of fun and a perfect way to ring in Halloween season. Annnd if you enjoyed this episode, why not share it with your filmmaking buddies on social media? Don't forget to subscribe today to hear new episodes right when they drop, and thank you again for listening to The Nick Taylor Horror Show.

Resources Mentioned

• But What I Really Want to Do is Direct by By Ken Kwapis (NOT TO BE CONFUSED by What I Really Want to Do is Direct by Billy Frolick)

• Sceneclopedia Horror: Every Scene of 25 Horror Films

• Osmo Pocket Camera 4K

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Chris von Hoffmann is the writer/director behind multiple features including Drifter, Monster Party, and most recently, Devil's Workshop.

In Devil’s Workshop, Clayton a struggling actor is desperate for a role as a demonologist. But he has hostile competition with his long-time rival, Donald. Determined to get the role at all costs, he contacts Eliza, an expert in demon lore, to help him prepare. Spending the weekend at her home, Eliza forces Clayton to confront his troubling past through the practice of dark rituals. Does she want to help Clayton, seduce him – or destroy him? The shocking climax will set your soul ablaze. The movie stars Timothy Granaderos and Radha Mitchell with Emile Hirsch as well.

So I actually worked on Devil's Workshop as Associate Producer AND, I am actually in the film. That's right, you can see yours truly acting, or at least trying to act, in the first and last scenes of the movie. So check me out. Devil's Workshop is available on VOD and select theatres September 30th so check your local showtimes.

In any case, I enjoyed the hell out of this conversation with Chris and hope you do too. 

Here are some key takeaways from this conversation with Chris von Hoffman.

Nobody's going to make your movie but you. Chris has directed three features, and he's likened the process of getting a movie made to pushing a boulder up a hill by yourself. Every single time. He realized early on, that nobody will ever want to make his movies more than he does, and therefore, the entire fate of the movie is on him, ALWAYS. It's your responsibility to push your movies forward, not your producer, you. Movies can evaporate so quickly; things fall through, people forget to get back to you, funds suddenly become unavailable, it's endless. You need to assume extreme responsibility and ownership for the fate of your movie because nobody will make it happen other than you there are many forces against you.

Have zero tolerance for unprofessionalism. When asked about remaining calm on set and managing his crew during difficult times, Chris mentioned that he is generally patient but has no tolerance for for blatant unprofessionalism, and I think this is a really good rule. As a director, there's a fine line between being a dictator and being a pushover. You want your crew to respect you, but if you bark orders at them and/or yell a lot, they will lose respect for you. But too much leeway and turning a blind eye can also be problematic. This is a fine balance, and a key to it is to refuse any blatantly unprofessional behavior. What is unprofessional behavior on set? You'll know it when you experience it. Movie making is chaos, and people are typically (hopefully) trying to do their best work possible, so be as patient as you can, but refuse to tolerate unprofessionalism.

You are going to catch heat, no matter what. As I mentioned in the interview, Guillermo Del Toro once likened film directing to eating a shit sandwich but with each movie you get a little bit more bread. No matter what, movie making is a game of taking a lot of shit and a lot of heat from multiple people. Arguably, films entail more decisions than just about any conceivable type of project, and people have no shortage of opinions, both creatively and professionally and people also have no shortage of judgement. Between your investors, producers, cast crew, no matter how good a job you think you're doing, you're gonna catch heat for something and be under a lot of constant scrutiny throughout the course of making your films. So get used to being in the hot seat and being comfortable being uncomfortable. But, also remember, it gets a little bit better with each movie you make.

Thank you guys for listening, don't forget to check out Devil's Workshop, available from Lionsgate on VOD and in select theaters starting tomorrow, September 30th.

Til next time, don't forget to subscribe, and thanks again for listening to the Nick Taylor Horror Show.

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Produced by Simpler Media

Chris von Hoffmann is the writer/director behind multiple features including Drifter, Monster Party, and most recently, Devil's Workshop.

In Devil’s Workshop, Clayton a struggling actor is desperate for a role as a demonologist. But he has hostile competition with his long-time rival, Donald. Determined to get the role at all costs, he contacts Eliza, an expert in demon lore, to help him prepare. Spending the weekend at her home, Eliza forces Clayton to confront his troubling past through the practice of dark rituals. Does she want to help Clayton, seduce him – or destroy him? The shocking climax will set your soul ablaze. The movie stars Timothy Granaderos and Radha Mitchell with Emile Hirsch as well.

So I actually worked on Devil's Workshop as Associate Producer AND, I am actually in the film. That's right, you can see yours truly acting, or at least trying to act, in the first and last scenes of the movie. So check me out. Devil's Workshop is available on VOD and select theatres September 30th so check your local showtimes.

In any case, I enjoyed the hell out of this conversation with Chris and hope you do too. Please give it up for writer/director, Chris von Hoffman.

Nobody's going to make your movie but you. Chris has directed three features, and he's likened the process of getting a movie made to pushing a boulder up a hill by yourself. Every single time. He realized early on, that nobody will ever want to make his movies more than he does, and therefore, the entire fate of the movie is on him, ALWAYS. It's your responsibility to push your movies forward, not your producer, you. Movies can evaporate so quickly; things fall through, people forget to get back to you, funds suddenly become unavailable, it's endless. You need to assume extreme responsibility and ownership for the fate of your movie because nobody will make it happen other than you there are many forces against you.

Have zero tolerance for unprofessionalism. When asked about remaining calm on set and managing his crew during difficult times, Chris mentioned that he is generally patient but has no tolerance for for blatant unprofessionalism, and I think this is a really good rule. As a director, there's a fine line between being a dictator and being a pushover. You want your crew to respect you, but if you bark orders at them and/or yell a lot, they will lose respect for you. But too much leeway and turning a blind eye can also be problematic. This is a fine balance, and a key to it is to refuse any blatantly unprofessional behavior. What is unprofessional behavior on set? You'll know it when you experience it. Movie making is chaos, and people are typically (hopefully) trying to do their best work possible, so be as patient as you can, but refuse to tolerate unprofessionalism.

You are going to catch heat, no matter what. As I mentioned in the interview, Guillermo Del Toro once likened film directing to eating a shit sandwich but with each movie you get a little bit more bread. No matter what, movie making is a game of taking a lot of shit and a lot of heat from multiple people. Arguably, films entail more decisions than just about any conceivable type of project, and people have no shortage of opinions, both creatively and professionally and people also have no shortage of judgement. Between your investors, producers, cast crew, no matter how good a job you think you're doing, you're gonna catch heat for something and be under a lot of constant scrutiny throughout the course of making your films. So get used to being in the hot seat and being comfortable being uncomfortable. But, also remember, it gets a little bit better with each movie you make.

Thank you guys for listening, don't forget to check out Devil's Workshop, available from Lionsgate on VOD and in select theaters starting tomorrow, September 30th.

Til next time, don't forget to subscribe, and thanks again for listening to the Nick Taylor Horror Show.

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Conor Boru & Ed Hartland are the writer/director duo behind When the Screaming Starts, a serial killer mockumentary that's somewhere between What We Do in the Shadows and Man Bites Dog.

Aidan aspires to be an infamous serial killer, and when Norman, a struggling journalist, is invited to follow him on his journey to create a Manson-esque murder cult that embarks on a blood-soaked rampage, Norman’s dream of becoming a renowned filmmaker may have just turned into a nightmare. With laughs and shocks in equal measure, When the Screaming Starts marks Conor's feature directorial debut and is streaming exclusively on Screambox.

This was a very fun interview. Conor and Ed are friends who have been working together for a long time and were finally able to come together on this movie. This is a great series of lessons on first-time feature filmmaking, balancing horror and comedy, and activating a shared mission amongst your cast and crew. Please enjoy this conversation with Conor Boru & Ed Hartland, creators of When the Screaming Starts. 

Here are some key takeaways from this conversation with Ed and Conor. 

Make the film you can make RIGHT NOW. Ed and Conor have been working in film for years and were dying to make a feature together. They realized that one of the most feasible sub-genres they could make a movie in, given time, money, and immediate access, was a mockumentary, so that's what they made. They wrote the movie based on what they knew they'd be able to do immediately. A common pitfall for many would-be directors is writing overly-elaborate, multi-million dollar scripts and putting all your chips on those when more often than not, directors get their start with micro-budgets. If you're a first-timer, it's unlikely you're going to get millions to make your first feature. Now, it happens, but while you're waiting on that miracle, you could be shooting something and getting crucial feature experience right now. Make the movie you can make today.

Make it a collective effort. Ed and Conor mentioned that a lot of their cast not only worked for free but actually invested money in the movie. This is pretty amazing and definitely unheard of. Conor even mentioned that unions in the UK are different from the US, but the point is still clear; they turned their movie into an asset and an opportunity for their collaborators; something they could be proud of that shows what they're capable of. For the actors, he gave them a lot of screen time and leeway to do what they wanted so the movie could act as a calling card for future project and help their careers. This is a very business-like mindset, but it's this kind of communal, mission-driven sensibility can enable you to take your move a lot further - when you and your cast all stand to gain from the movie in equal measure, you will all be rowing in the same direction. Of course, you have got to make it worth their while. Jason Blum typically does a great job of this as well.

Harness the power of momentum. Making a movie requires a debilitating amount of decisions to be made, details to be coordinated, and endless opportunities for analysis paralysis. Ed and Conor had their idea for the movie but didn't wait for things to be perfect before they started making plans. It's critical that you start taking action, making decisions, and scheduling dates for your projects - even if they're arbitrary or temporary. Once you have tangible dates and deadlines, things start to move because the movie suddenly becomes real to you and your collaborators. Find a way to get the snowball rolling so it gains momentum by any means necessary. You'll likely have to reschedule countless times, but just get it started and build momentum til the finish line.

Thanks for listening, and don't forget to check out When the Screaming Starts, exclusively streaming on Screambox. 

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