The Nick Taylor Horror Show

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

Hey everyone, back with another monthly episode of The Howl, a new concept where me and my cohost Adam Cruz summarize and discuss the past month's horror news, share what we've watched recently, and just generally nerd out over all things horror. Our goal with The Howl is to catch listeners up with all of the horror news they may have missed from the past month in a fun, conversational format. If you want a quick-read version of The Howl sent directly to your inbox every month, then sign up for my monthly newsletter at nicktaylor.com/thehowl. So to recap, The Howl is all about catching you up on what's happening in horror, delivering some solid movie recommendations, and hopefully entertaining you at the same time. These episodes also have a video component, so feel free to check us out at The Nick Taylor Horror Show YouTube channel as well. So without further ado, here is me, Nick Taylor in conversation with Adam Cruz on a new monthly segment we're calling The Howl. SHOW NOTES: Follow Adam Cruz at: Instagram https://www.instagram.com/murdermemes_/ TikTok: https://www.tiktok.com/@murdermemes_ Store: www.murdermemes.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 Movies Mentioned: Thanks for listening! Don’t forget to subscribe. To get a monthly newsletter of all of your horror news streamlined into a quick-read email visit www.nicktaylor.com/thehowl

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

Dave Clark is a filmmaker and creative force who's directed commercials for major brands along with multiple narrative films, including his 2019 feature, 'After She Wakes.' Dave recently released a must-watch short film called ‘Another’ which is not only terrifying and beautifully made, but a great example of blending AI with live action filmmaking. This film exemplifies Dave's significant contribution to the AI filmmaking landscape, showcasing how AI should not replace humans or any facets of the filmmaking process. Instead, it can serve as an incredible creative tool, adding unique and exciting dimensions to the work. Dave has been a pioneer in the AI filmmaking conversation, demonstrating what accessible AI tools like Midjourney, Magnific, and Runway are capable of when combined with a skilled and discerning eye for cinema. His understanding of cinema and filmmaking has seriously enabled him to get really incredible results. Obviously, in the context of filmmaking, AI is a hotly debated topic of controversy, but regardless of whatever side of the fence you’re on, I’d encourage you to listen to this episode. Dave is a very legit, honest to goodness filmmaker first who loves the entire process from being on set, to working with actors, to picking lenses, all of it, and he champions a future where AI is just another tool in the toolbelt and not a replacement for anyone. Dave was also recently brought in by SAG to deliver a presentation on AI and filmmaking to over 1,000 Screen Actors Guild Members. In this episode Dave get into the practical applications of AI in previsualization and post-production, and its ability to bring high-quality VFX within the reach of indie filmmakers. He stresses the importance of balancing AI tools with traditional filmmaking techniques, ensuring the human touch remains central in storytelling and cinematic aesthetics. Dave also shares his process for creating ‘Another’ his short film that integrates AI with live action and together we explore how AI can act as a creative partner, offering fresh insights and accelerating the writing and development phase without overriding the unique voice of the writer. Overall Dave provides valuable insights into how filmmakers can navigate this new landscape, using AI as a tool to enhance, not replace, their creative processes. Here are some key takeaways from this conversation with Dave Clark: Use AI for previs and pitching.Be subtle about using AI.Don't be a hater. AI Projects:

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

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

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

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

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

Today we have a very, very special guest. Somebody who I've wanted to have on the show since I first started the show a few years ago. That is the legendary Eli Roth. We basically focused the conversation on Thanksgiving, his latest movie, which I highly recommend you go see. In any case, I figured I would give everybody a brief overview of the life and career of Eli Roth before getting to the interview. Eli Roth was born in Newton, Massachusetts. His father was a psychologist, and his mother was an artist. He grew up on '80s horror and even had a horror-thriller theme to his Bar Mitzvah, where he got sawed in half. He went on to attend the NYU Tisch Film School, and he made what he called a Tarantino rip-off, a short called "Restaurant Dogs," which he spent about $10,000 on and used as a calling card to get his first feature made. His first feature, of course, was Cabin Fever in 2003. So Cabin Fever was based on a real-life skin rash that he got while riding ponies on a farm in Iceland. Turns out it was ringworm, and he claims that when he was scratching his leg, entire pieces of skin were peeling off. He then went to shave his face, and it had affected his face too. And as he tried to shave, entire swaths of skin came off of his face. Eli claimed that he essentially shaved off half of his face before realizing this is a perfect concept for a horror movie. He then went on to write the script, but it took six years for him to raise the $1.5 million budget, which he raised through private investments. The movie went on the festival circuit, and Tarantino saw it and claimed it was the best new American movie. It was eventually bought by Lionsgate at the Toronto Film Festival in what was the festival's biggest sale and then went on to earn $35 million globally. Perhaps Eli Roth is best known for his breakout horror hit, Hostel. This is my favorite Eli Roth movie. There's something about it that I find to be just timeless and ruthless but still a lot, a lot of fun. It mixes brutality with fun in equal measure and it gets really dark and really brutal and really scary, and you almost don't think you can handle it, but somehow you can. Hostel was made for a budget of $4 million and opened number one at the box office opening weekend, eventually taking in $20 million in its first weekend and grossing $80 million worldwide at the box office. Eli turned down multiple studio directing jobs and took a directing salary of only $10,000 on Hostel to keep the budget as low as possible so there would be no limits set on the violence. In 2006, film critic David Edelstein in New York Magazine credited Eli Roth with creating the horror subgenre, "torture porn." So when you think about it, the early 2000s was a pretty watershed time for horror. The '90s were relatively tame compared to the '80s. Of course, in the '90s you had Scream and I Know What You Did Last Summer, but they paled in comparison to the buckets of gore that we saw with franchises like Nightmare on Elm Street, Friday the 13th, and even the Texas Chainsaw sequels that came out in the '80s. However, the early 2000s led to the Splat Pack. This is a number of directors who were considered to contribute to a gleeful revival of gore being put back into movies, and Eli Roth was a big part of it. They include Eli Roth, Alexander Aja, Adam Green, Rob Zombie, and James Wan. There were a few others, but these were the main guys credited as being part of the Splat Pack. So to put this into chronological order, first came High Tension in 2003, which also kick-started French extremism. That was director Alexander Aja. And that movie is fantastic. I highly, highly recommend it. Next came Rob Zombie's amazing House of a Thousand Corpses. I recently bought the Blu-ray, and I think I've bought this

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

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

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

Welcome to The Nick Taylor Horror Show! Today, we have a dynamic duo, Director Anthony DiBlasi, and his wife, actress Natalie Victoria, joining us. After graduating from Emerson College and moving to Los Angeles, Anthony became a protégé of Clive Barker and worked alongside him on films like Midnight Meat Train and 2009's Book of Blood. Anthony made his directorial debut with the psychological thriller Dread, based on a Clive Barker short story. One of Anthony's most acclaimed films was Last Shift, released by Magnolia Pictures in 2015. His filmography also includes the psychological thriller Extremity from 2018. Now let's talk about Anthony's Wife, Natalie Victoria. Beginning her career in theater, Natalie has earned awards and recognition for her acting and writing. Natalie has acted in various features, short films, and stage plays, including the comedy "Deadheads," and the cult classic horror film Last Shift. Natalie stars in Anthony's latest release Malum, which is actually a remake of Last Shift. The film follows a rookie police officer as she uncovers the eerie connection between her father's death and a vicious cult during her shift at a decommissioned police station. As the lone officer on duty, she finds herself in the midst of terrifying paranormal events while learning the shocking truth about her family's history with the cult. In our conversation today, we discuss the importance of building trust with actors, crafting horror based on personal fears, and Anthony's 10 years working with Clive Barker. Here for your listening pleasure are Natalie Victoria and Anthony DiBlasi. Here are some key takeaways from this conversation with Anthony DiBlasi. Make Hell a safe space. I've talked with people at length about how horror can be substantially more demanding on actors because it requires the most intense emotions. For this reason, horror directors need to take particularly great care of their actors. Anthony mentioned that it's essential for directors to shield their actors from on-set turmoil, especially time constraints. By ensuring your actors are cocooned from such pressures, even at the cost of other departments, you provide them with the environment necessary for a stellar performance. Forge an emotional connection to your actors. Anthony also stressed the significance of establishing genuine emotional connections with your actors. It's the director's job to uncover the emotional truth that resonates with the actor for each scene. Rather than rudely prying them for emotionally intimate details of their life, Anthony stated that he would often reveal intimate and vulnerable details about himself and how he related to a scene to enable them to open up. Art often requires vulnerability; if you want your actors to go to dark places, you have to be willing to go there first. Find out how your actors like to work. Further, Anthony and Natalie underlined the importance of understanding your actor's preferred way of working and direction style. Encourage them to share past directing experiences, both good and bad. Every actor is different, and tuning into their specific needs will mold you into a more versatile director. Create a repository When it came to the creation of Malum, Anthony revealed how various elements - dreams, sketches, vague concepts - had been incorporated into the film. Fortunately, his habit of consistently jotting down ideas, no matter how undeveloped, provided a wealth of material, or 'firewood' as David Lynch would say, all of which was at his disposal during the scriptwriting process. As a result, Anthony strongly encourages the use of note-taking apps (like Evernote and Notion), as they can be game changers. Amassing your thoughts over time can make...

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

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

Welcome to the Nick Taylor Horror Show. As always, each episode of The Nick Taylor Horror Show explores how today's horror filmmakers are getting their movies made while deconstructing their methods and career strategies into practical insights that you can use on your own horror filmmaking journey. Join me in welcoming Vincent Grashaw! Vincent is a writer-director known for films like Coldwater, And Then I Go, and last year's stunner, What Josiah Saw. What Josiah Saw is a southern gothic psychological horror drama that takes us into the heart of a dysfunctional family's grim reunion at their remote farmhouse. The film unravels a tapestry of secrets and sins, ultimately confronting the profound impact of generational trauma. With an exceptional ensemble cast including Robert Patrick, Nick Stahl, Scott Haze, and Kelli Garner, What Josiah Saw is a powerful and unflinching piece of southern fried noir cinema. The film holds a rightfully earned 90% on Rotten Tomatoes and you can catch it right now on Shudder. I highly recommend this film but be careful who you watch it with because it gets pretty intense. Here are some key takeaways from this conversation with Vincent Grashaw: Vet your actors. Lots of well-known actors disappear from the limelight simply because they're difficult to work with. Talent is not enough, your actors have to be cooperative and collaborative or else you can be in a world of pain. This is why it's critical to dig deeper into your potential hires. Speak to producers, casting directors, and trustworthy actors. See if they're game for the demands of your production, including long hours, low budgets and shooting styles. This is vital for your lead actors but also goes for your key crew. A single ego can disrupt the whole set's harmony. So, do your vetting, awkward as it may feel, it'll save you substantial heartache. There’s an insight in every note. When gathering feedback on edits for Josiah, Vincent discovered that those unattached to the movie were typically more objective, even if their notes sometimes annoyed him or suggested they missed the movie's point. He learned to check his ego when facing feedback, striving to find the truth in every single critique. It's easy to shrug off notes and feedback, and that's often your ego talking. After your first edit, you're likely too close to your movie to spot its flaws. So heed the feedback, even if it seems uninformed at first glance. Find the commonalities in the notes and dig beyond yourself to figure out what needs fixing.

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

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

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