The Nick Taylor Horror Show

Markian Tarasiuk and Sean Harris Oliver are the filmmakers behind Hunting Matthew Nichols, a true-crime-style horror mockumentary that has become a notable self-distribution success story. Made for a budget of $300K Canadian, roughly $215K USD, the movie made all of its money back before it was even released through presales, then did $600K in its opening weekend in theaters, all thanks to the enterprising bootstrapping of the filmmakers, who entirely took charge of the future of their own film. This is, without a doubt, one of the most important and inspiring conversations I’ve had in recent years, and it is very indicative of the type of stewardship filmmakers need to take over their projects. In this conversation, Markian and Sean discuss the making of Hunting Matthew Nichols, from a COVID-era concept to theatrical distribution, all done without distributors or studios. You might want to take notes on this one, and definitely check out William Earl’s article in Variety (see show notes) on this project, because this is a case study worth studying. Key Takeaways Do not wait indefinitely for permission to make the movie. A major thread in this story is how much time was lost trying to get the “normal” system to say yes. The guys spent years pitching, hoping for financing via a traditional path, only to realize later that they might have been better off making the film sooner on their own terms, which they did. Then, once they got their movie made, the deals distributors offered them were so bad and senseless that they thought, maybe we can do this ourselves, which they did, and they were successful. The lesson for filmmakers: if the system keeps stalling you, fuck the system, do it yourself. Filmmaking is punk rock, baby. Sometimes you gotta do it your own way. Maintain Beginner’s Mind. A lot of would-be filmmakers are insecure about their lack of experience to the point of paralysis, but this interview clearly shows you that being green can be your greatest asset. The industry is going through an overhaul and growing pains, and many of the insiders have not caught up with the times and are still doing things in archaic ways. You do not need to follow them. As you get your movie made, you will be faced with so many people who tell you, this is how it’s done, but you can question that, you can doubt that, and ultimately you can reject that. Self-distribution is possible, but it is a full-time operational job. This is the counter to the other two lessons. Yes, you can do this all yourself, but it’s going to be a full-time job. Markian and Sean were very clear that the release and marketing involved months of constant work, long daily hours, pressure from deadlines, and a huge amount of problem-solving across both the U.S. and Canada. And now they have to handle distribution themselves, which is even more full-time work. So if you’re gonna go this route — and you can — you’ve gotta be ready to go all the way. It’s grueling, constant work, but at the end of it, you’ll have an incredibly comprehensive education in what it takes to get movies funded, made, and distributed, which is the best film school you can imagine and puts you in the most favorable leadership position for your own production company. Show Notes Movies and Shows Mentioned Shelby OaksUndertoneBest in ShowStrange HarvestTerrifier 2Terrifier 3Good Boy Books and Resources https://variety.com/2026/film/features/hunting-matthew-nichols-viral-horror-movie-1236713088/ Follow Markian Tarasiuk at: https://www.imdb.com/name/nm5950996/https://www.instagram.com/marktaras/https://x.com/MarkianTarashttps://www.tiktok.com/@markiantarasiukhttps://www.markiantarasiuk.com/ Follow Sean Harris Oliver at: https://www.imdb.com/name/nm1725784/https://www.instagram.com/seanharrisoliver/https://ca.linkedin.com/in/sean-harris-oliverhttps://www.seanharrisoliver.com/

Patrick McMahon and Rick Shaine are the editors behind the original Nightmare on Elm Street. In this special live conversation at the Metrograph theatre in New York, Pat and Rick reflect on everything from working with Wes Craven to the intense amount of pressure they were under and their specific techniques for editing to induce fear. On today’s episode of The Nick Taylor Horror Show, here, without further ado, are Patrick McMahon and Rick Shaine.

Rod Blackhurst is a filmmaker, director, and producer whose work spans documentary, narrative, and horror. He made his narrative feature debut with Here Alone, winner of the Audience Award at the 2016 Tribeca Film Festival, and later returned to Tribeca with Blood for Dust (2023), starring Scoot McNairy and Kit Harington. He also co-directed and produced the Emmy-nominated Netflix documentary Amanda Knox. He also co-created The White Room, a Blood List script later acquired by Amblin, and co-wrote the story for Blumhouse’s Night Swim, which grew out of the 2014 short film he made with Bryce McGuire. Rod also directed and served as showrunner for Peacock’s John Wayne Gacy: Devil in Disguise and directed on National Geographic’s Welcome to Earth with Will Smith. His latest film, Dolly, is a beautifully shot 16mm slasher that evokes the grime and menace of early horror classics while carving out its own identity. In this episode, Rod and I talk about his path into filmmaking, the realities of getting indie films made, and the making of Dolly. Please enjoy this conversation with Rod Blackhurst. Key Takeaways Wear your influences openly, but metabolize and integrate them. Rod talks about The Texas Chain Saw Massacre as a major influence, and it is really clear when you see the movie, but he is careful not to recreate it in a way that feels like blatant homage. The useful principle is that inspiration works best when it is absorbed into the DNA of the film and filmmaker rather than pasted on top of it as a wink. As a result, the movie feels like it takes place in the same world as these influences instead of attempting to overtly acknowledge or recreate them, which can take viewers out of the movie. Investor trust is built with transparency. Rod is one of the most financially responsible filmmakers I have spoken to. His financing advice is unusually concrete. He informs investors how the equity works, how they might recoup, what the timeline is, and acknowledges the very real risk that they could lose all their money. He also shows prior accounting and distribution sheets to demonstrate his own personal track record, treating his career like a business, which it is. That mindset treats filmmaking as entrepreneurship, not just art, and it is one of the most practical pieces of advice in the conversation. Cast the person who can give the monster a soul. Rod found Max the Impaler through wrestling and quickly realized he had found more than a physical presence. Max’s background as a largely nonverbal performance artist made them perfect to play Dolly, the slasher, and their emotional investment transformed the character into something much richer than what was on the page. Think about David Howard Thornton and Doug Jones. A monster is not just a costume and makeup job; it comes down to the soul of the performer. Show Notes Movies Mentioned DollyThe Texas Chain Saw MassacreThe Evil DeadBlood for DustSnow WhiteThe VanishingHigh TensionMartyrsBarbarianNight SwimUndertoneItCastle in the SkyThe Iron GiantE.T. the Extra-TerrestrialProject Hail MaryMarty SupremeBackroomsObsessionHere Alone Follow Rod Blackhurst at: https://www.imdb.com/name/nm2060444/https://www.instagram.com/rodblackhurst/https://x.com/rodblackhursthttps://vimeo.com/rodblackhursthttps://www.rodblackhurst.com/

Jeremiah Kipp is a New York–based horror filmmaker whose work includes The Sadist, Slapface, and The Geechee Witch: A Boo Hag Story. In this episode, Jeremiah breaks down his expansive career journey and finely tuned process for working with actors, maximizing low budgets, and keeping sets running smoothly. Jeremiah also discusses the importance of mentorship in his career, including his longstanding relationships with genre greats, and former guests of the show, Larry Fessenden and Jim Mickle. And of course, we dive deep into his most recent feature, the adaptation of the viral video game The Mortuary Assistant, coming to Shudder on March 27th. Without further ado, here is Mortuary Assistant Director, Jeremiah Kipp. KEY TAKEAWAYS Choose Material That Speaks to You Personally Jeremiah initially had little interest in adapting a video game. But when he played The Mortuary Assistant, he connected deeply to the protagonist, Rebecca Owens, a woman who hides inside her work to avoid confronting her personal demons. That personal entry point became his entire pitch: preserve the game’s dread and atmosphere while grounding the film in emotional vulnerability. He and game creator Brian Clark bonded over shared anxieties and experiences, and it became the start of an excellent collaboration because Jeremiah was able to relate to the material on a deeply personal level. When directing, it’s critical to put a big part of yourself into your projects, otherwise, why should you be the one to direct it? If you can’t channel personal experience into a movie, or if the producers don’t leave room for that, it might not be the right fit for you, and that’s fine. Find the emotional core that connects to your own life or unique sensibility. Otherwise, the movie becomes just a gig. Producers can tell when your heart isn’t in it. Audiences can too. Make it personal, or don’t do it. Make sure Everyone is Rowing in the Same Direction The Mortuary Assistant, a very creatively unified, cohesive production as opposed to an earlier project that Jeremiah passed on where the vision kept shifting. That earlier project had producers that first wanted Blair Witch-style dread, then Herschell Gordon Lewis gore, then something akin to Black Phone. This unfocused behavior is a MASSIVE red flag, and even if you’re just starting out, you should run because you’re probably being setup to fail. Of course, not everyone is going to agree and get your vision, but if producers don’t know what they want, or you’re getting massively conflicting feedback from those you’re meant to report to, no one will win, and you as the director will get all the blame. As Budgets Increase, Money Feels Smaller Jim Mickle warned Kipp: “As you move up the budget ladder, it feels like you have less money.” This is a fascinating paradox but really makes sense when you think about it. More money means more department heads, larger builds, higher actor costs, bigger expectations, more moving parts, and less margin for error. More money means better production value but often less time and less freedom. We all want bigger budgets but, heed this warning going in. De-escalation Is a Crucial Leadership Skill Movie-making is grueling and involves long nights, early mornings, physically punishing days, little sleep, and less-than-adequate nutrition from crafty — all within a high-pressure environment. In other words, it’s a recipe for potential volatility among those involved. Things go wrong on sets, tensions run high, and having worked on as many movies as he has, Jeremiah learned that de-escalating situations is a critical skill. A lot of would-be directors expect to take on a domineering presence where they demand full obedience from everyone on set. This attitude will have your cast and crew turning on you by day one, and your movie will suffer for it. Instead, assume a posture of humility. Take your ego out of volatile situations to relieve tension — even when the people you’re...

Brandon Christensen is back. A Canadian horror filmmaker, his recent run includes Puppet Man, Night of the Reaper, and his most recent release, Bodycam. Brandon writes, directs, produces, edits, and often handles visual effects on his own films, building ambitious genre work by keeping crews small, budgets tight, and the process intensely hands-on. In this episode, Brandon breaks down the making of Bodycam, his found-footage feature told entirely through police body cameras. He also gets into how he’s been able to release four movies in the past six years, and shares his model for low-budget, high-impact horror filmmaking. On today’s episode of The Nick Taylor Horror Show. Key Takeaways Spend on the people who can solve whole categories of problems. Rather than building a big crew, Brandon focuses on hiring a few choice highly capable collaborators who can wear multiple hats. He cites cinematographer Clayton Moore as a key example, since Clayton handled the camera system and also rolled sound during takes, which freed up money for other departments. His larger point is that on movies with this low of a budget, the trusted and dedicated people can be far more valuable than a larger headcount. Brandon’s approach is not about dismissing department but more about building a lean team around the specific needs of the movie. Shoot in Calgary or other undiscovered production hotspots. Brandon makes a strong case for building films in places like Calgary, where the production environment still works in an independent filmmaker’s favor. In his experience, the city offers a rare combination: people are less jaded by film shoots, locations are more attainable, and the city access can deliver real scope on screen. This all matters because production value is often less about how much money you have than how much access you can get. Brandon was able to pull off some very high production value scale on Bodycam, and it was largely due to having a very accessible production city. Brandon was able to use large houses, full streets, city blocks, and striking urban spaces that made the film feel much bigger than its budget. In a more production-saturated city, many of those same locations may have been harder to secure, more expensive, or simply out of reach for a small indie team. Calgary gave him room to move, and the movie benefits from it in every frame. Build a sustainable career where you can keep making things. Brandon is candid that the traditional studio path no longer appeals to him the way it once did. At this point in his life, he would rather keep making movies he can control than spend years in meetings chasing permission and larger budgets. Brandon is in his forties, has three kids, and no longer wants to organize his career around endless travel and meetings when he can continue making movies in Alberta. The deeper meaning of this conversation is that Brandon’s system is not just a production model; it is a life model. He wants to keep directing, keep learning, and keep getting back on set without sacrificing everything else. For filmmakers, that is a valuable perspective: sustainability is part of the craft. Show Notes Movies Mentioned BodycamPuppet ManNight of the ReaperSuperhostHardcore HenryThe Last of Us Books and Resources Follow Brandon Christensen at: https://www.imdb.com/name/nm3417134/https://www.instagram.com/thebrandonchristensen/https://x.com/thebrandonc85https://www.facebook.com/brandonchristensendirector/http://thebrandonchristensen.com/

Brian Hanson is a veteran and filmmaker who’s features include The Black String and most recently, The Bunker, an ultra low budget alien invasion horror/thriller starring Chelsea Edmundson, Tobin Bell and the late great Tony Todd. Brian and I get into how he made The Bunker during the height of COVID, how to build a credible sci-fi world on an ultra-low budget and how his military service shaped his filmmaking discipline on today’s episode of The Nick Taylor Horror Show. Please give it up for Brian Hanson. Key Takeaways The obstacle is the way. The Bunker was born out of the darkest stretch of COVID, when Brian and his collaborators genuinely did not know when normal filmmaking would return. Rather than wait for ideal conditions, they reverse-engineered a story around what was actually possible: one actor on set at a time, a mostly empty institutional building, and remote communication like Zoom. That limitation led directly to the movie’s video-call structure and the film’s unique isolated sci-fi logic. The practical lesson is clear: when resources are limited, stop fighting the limitation and embrace it by building the premise around it. Showing less causes more impact. Brian knew they could not afford to show elborately concieved aliens so the film leaned into more original and frankly fascinating aspects of an alien invasion like telepathy, psychological breakdown, and mind control. That choice did more than save money; it sharpened the horror. The aliens become frightening because they invade thought, memory, and perception rather than simply appearing as creatures in frame, which has been done thousands of time before. It is a strong reminder that limitation often pushes filmmakers toward more distinctive, and sometimes more powerful, storytelling. Attention to detail is a creative skill, not just an administrative one. Brian’s military background sharpened his appreciation for systems, hierarchy, file naming, logistics, and precision. He connects that directly to filmmaking, where one mislabeled file or one overlooked production detail can cause disaster across departments and. His point is especially useful for younger filmmakers who romanticize spontaneity: professionalism and precision are not the enemy of creativity. They are often what allow the creative vision to survive contact with reality. Show Notes Movies and Shows Mentioned The BunkerThe Black StringHostArrivalCommunionFire in the SkyIndependence DayThe NightmareRoom 237The Shining2001: A Space OdysseyEvent HorizonColor Out of SpaceRe-AnimatorFrom BeyondThe MistThe EndlessStranger ThingsStranger Things: The First ShadowFinal DestinationOzJunoNight Visions TV and Paranormal Media Mentioned SightingsThe X-FilesRescue 911Coast to Coast AM Books and Resources The King in YellowThe Shining2001: A Space Odyssey Follow Brian Hanson at: https://www.imdb.com/name/nm6969909/https://www.instagram.com/hanson375https://x.com/hanson375https://www.linkedin.com/in/brian-hanson-00689890/

Pierre Tsigaridis is the filmmaker behind such indie horror films as Two Witches and Traumatika. Pierre is a quadruple threat as he writes, directs, DPs, and edits his own movies, and in this episode he breaks down the making of Traumatika, a very brutal possession story and exploration of trauma and abuse. Fair warning, the movie is called Traumatika so you can expect that we dive into darker than usual subject matter in this episode. So, without further ado, here is Pierre Tsigaridis. Key Takeaways Hook the audience up front. Traumatika is a movie that goes for your throat at the jump. Not waiting to build up suspense or believability, this movie eventually goes to 11 but starts around 6 or 7. For newer and indie filmmakers you sometimes need to cater to the waning attention span of viewers by hooking them in the very beginning. You need to remember that you’re competing with a lot of other movies and if the viewer isn’t immediately hooked, sometimes they can move on. The implications of this may be unfortunate but doing this can make for a very impactful movie. So don’t ask permission to scare, just go for it. Foreign horror movies usually do this very well. Of course this depends on the type of movie you’re trying to make and sometimes you need a slow burn, but other times, you gotta just go for the jugular up front. There’s no limits to the amount of hats you can wear. Pierre wrote/produced/directed/shot/edited and even funded Traumatika. Doing this essentially makes him unstoppable as a filmmaker. His reasoning is practical: micro-budgets and fractured schedules mean you need to be able to pick up a camera and continue the movie even when people or days fall through. Being able to do all of this yourself simplifies scheduling, but can still be physically and mentally taxing, or as Pierre said, “the only thing that can stop me is my back.” Remember though, pain is temporary but cinema is forever. Light sets allow for dark explorations. Traumatika explores extremely dark subject matter, like REALLY DARK. Pierre was able to go there with his actors and get extremely gut-wrenching performances out of them because they trusted him and because he ran a supportive set. Pierre’s process included constant check-ins and letting actors shape choices. By setting up such an insulated and supportive set, the actors were actually able to go even deeper into the dark material as Pierre claimed that some of the most disturbing ideas were suggested by the actors. The big lesson: if you create a respectful and supportive environment and listen, actors will often take you further than you planned and they’ll feel ownership instead of pressure. Yes, we all know how Stanley Kubrick got the performance he did out of Shelly Duvall in The Shining, but despite how amazing that performance is, the method was abusive and should be forgotten. The real key to going super dark is creating a super safe space. Show Notes Movies and Shows Mentioned TraumatikaThe GrudgeThe RingScreamHalloweenThe ExorcistEvil DeadNosferatuThe DescentThe Lord of the RingsCastle FreakPulseKairoA Tale of Two SistersMulholland DriveLost HighwayInland EmpireTwin PeaksTwin Peaks: The ReturnManiacThe Texas Chain Saw MassacreHenry: Portrait of a Serial Killer Follow Pierre Tsigaridis at: https://www.imdb.com/name/nm8705238/https://www.instagram.com/pierretsiga/https://x.com/PTsigaridishttps://www.facebook.com/pierre.tsigaridis/

Atticus Derrickson is a composer and music producer who recently scored The Black Phone 2. He is also the son of Scott Derrickson, director of both Black Phone movies, Sinister, and many others. In this conversation, Atticus and I get into composing horror scores, how to achieve fear through sound design, and much much more. Show Notes Movies and TV Mentioned The Black Phone 2The Black PhoneSinisterV/H/S 85SmileThe WitchThe LighthouseShadow Crawler People & Artists Mentioned Sinister Gear and Music Tech Mentioned Physical Media The Black Phone 2 Key Takeaways Start early and let tone guide the whole production. Atticus began writing tonal score pieces before the script was even finished. That let production carry his music into the shoot, so the score could help dictate direction. A lot of those early pieces ended up in the final film because they already lived inside the world of the story—and inside the director’s head. This is why Atticus recommends avoiding temp tracks: they can be a trap, tying you to a specific (often derivative) sound instead of pushing you toward something new. Working this far upstream also allows for a more holistic approach to scoring the film. The tone and feeling of Black Phone 2 is one of the things that made it so distinctive, and a big reason is that the score was completely original rather than shaped by temp music. Merge score and sound design for unified texture. Atticus describes a constant collaboration with the sound designer and mixer so elements like static, wind, and snowy ambience could interlock with the music instead of competing with it. The goal was one cohesive system—where sound design and score feel like the same organism. As a result, the movie has a very strong sense of surrealism that makes you feel like you’re in a very beautiful nightmare. Protect what’s working. Atticus told a story about a final music cue that had to be shortened to fit the edit. When he tried to cut it down, he realized it damaged the overall effect, so he fought to keep the full cue intact—and won. As a result, the scene works beautifully. Whether it’s a music cue or any other element, sometimes something is perfect as-is and it’s the surrounding pieces that need to be reshaped to support it. When something is working, protect it. Follow Atticus Derrickson at: https://www.imdb.com/name/nm12279894/https://www.instagram.com/atticusderricksonhttps://open.spotify.com/artist/1ZAQG5e9sxTTkxKjr5OcLs?si=bT32GgkJTpKHqThqabqT1A

Whitney Moore is an actress, writer, director, and lifelong horror fan whose work spans indie genre films, hosting, and original creative projects. Whitney is known for her sharp perspective on horror culture, including her time hosting Bloody Disgusting’s This Week in Horror. She has also appeared in films such as Birdemic: Shock and Terror, Satanic Panic, and most recently, Bennie Safdie’s The Smashing Machine. In this episode, Whitney and I geek out about all things horror, including our favorite gateway horror, what’s shocked each of us recently, and why body horror resonates as strongly as it does in today’s culture. On today’s episode of The Nick Taylor Horror Show, please give it up for Whitney Moore. Show Notes Movies Mentioned The Smashing MachineBring Her BackHenry: Portrait of a Serial KillerEvil Dead RiseThe MonkeyThe Blackcoat’s DaughterI Am the Pretty Thing That Lives in the HousePoltergeistChild’s PlayScreamItFive Nights at Freddy’sAre You Afraid of the Dark?Who Framed Roger RabbitThe GooniesThe Addams FamilyHotel TransylvaniaZootopiaFalloutTwin PeaksLost HighwayHumanist Vampire Seeking Consenting Suicidal PersonThe Ugly Stepsister28 Years LaterBone TempleMayValentineHeart EyesNatural Born Killers

Eduardo Lecuona and Ximena García Lecuona are the writer/director duo behind the Blumhouse found footage/narrative hybrid film No Me Sigas, which translates to Do Not Follow Me. No Me Sigas is Blumhouse's first original Spanish-language horror film, a Mexican supernatural thriller that follows Carla, an aspiring influencer, who fakes hauntings in her apartment for viral fame, only to accidentally summon a real malevolent entity that blurs the line between staged content and genuine terror. The film blends narrative filmmaking with a found footage–style mixed media approach, including social media footage, security cams, and iPhone footage, among more. No Me Sigas is now streaming exclusively on Hulu. In this episode, Eduardo and Ximena talk about their approach to analog horror and modern found footage, as well as their extensive and fascinating process for paranormal research, which included attending live witchcraft rituals. On today’s episode of The Nick Taylor Horror Show, here, without further ado, are Eduardo Lecuona and Ximena García Lecuona. Key Takeaways Research isn’t just facts—it’s proximity. Ximena didn’t just watch videos and read books about the paranormal. She went to rituals, talked with real witches, met shamans, and witnessed a ceremony involving a possessed doll. That lived exposure helped her build lore with details that feel internalized instead of invented. When your film touches a subculture or belief system, respectful proximity (conversations, observation, participation when appropriate) often yields better story texture than Wikipedia. Scares are designed three times: pre-pro, production, and post. The team literally named their scares in the shot list (“closet scare,” “phone scare”), and on set they gave those moments extra priority and extra time. But in the edit, they realized everything could change, as sound and music can entirely reshape how a scare lands. As a horror filmmaker, scares are one of the most important elements to get right, so you should take extra care to plan them out as thoroughly as possible. In matters of the occult, set culture matters. The filmmakers both come from spiritual families and, as a result, did lengthy protection rituals before shooting in famously haunted buildings in Mexico City. Regardless of anyone’s personal beliefs, this kind of practice can unify a crew psychologically by reinforcing the idea that “we’re protected, we’re intentional, we’re respectful.” Spirituality and the supernatural can be highly charged subject matter, and crew members will likely have a mixture of beliefs. It’s important to establish rituals of care—spiritual, practical, or both—whether denominational or not. Managing spiritual morale can be just as important as managing physical well-being. Show Notes Movies and Shows Mentioned

Kevin Lewis and Oliver Trevena are the director and producer duo behind Misdirection, a contained neo noir thriller with Frank Grillo that builds a surprisingly big world inside a single location. Misdirection follows a couple driven to carry out a series of high-end heists to pay off a dangerous mob debt. When their latest break-in spirals out of control, the pair find themselves caught in a web of secrets, deception, and deadly consequences. Misdirection is now available on Digital from Cineverse. Shot in Serbia over fifteen nights on a small budget, the film is a case study in fast prep, actor focused directing, and the kind of persistence it takes to pull an indie feature across the finish line. Here, without further ado, are Kevin Lewis and Oliver Trevena. Key Takeaways Relentlessness is a producing skill, not a personality trait. Misdirection went through consistent bouts of turbulence. Funding gaps, broken promises, Murphy’s Law persisted all the way up to roughly five days before shooting. Oliver was told by multiple people to forget about the project and let it go, but he didn’t. The takeaway is that persistence isn’t just motivational jargon, it’s a core production competency. If the producer stops pushing, the movie collapses. Misdirection took years to get off the ground, and the film only exists because Oliver and Kevin refused to let it die. Many people think movies are bought and sold based on the market itself, but that’s not always the case. Sometimes beating a movie into production through sheer will and force is the only path forward. Speed unlocks instinct. Shooting in fifteen nights removed hesitation. With no time to overthink, decisions became intuitive and committed. That urgency created momentum and helped performances and directorial choices feel alive rather than labored. It’s always ideal to have more time, but there’s creativity in limitations, and some casts and crews work better under pressure. Prep is freedom: obsess early so you can adapt fast later. Thrillers demand airtight logic. Kevin mapped character movement, information reveals, and physical continuity in advance so nothing unraveled under pressure. Thorough prep made the fast pace possible. Kevin calls himself a “big prepper”—months of notes, multiple contingency plans (A/B/C/D), then recalibrating once they were on set. He also describes basically hermitting in his hotel room instead of socializing because every hour on set equals money. The lesson isn’t to “be rigid”—it’s the opposite: deep prep lets you pivot without breaking story logic when the location or constraints change. As Churchill said, plans can be useless but the act of planning can be priceless. Show Notes Movies and Projects Mentioned MisdirectionParadox EffectJohn WickWick Is PainWho’s Afraid of Virginia Woolf?DriveWerewolves Follow Kevin Lewis at: https://www.imdb.com/name/nm0507425/

Stuart Ortiz is a film director, writer, producer and one of the founding members of The Vicious Brothers, the filmmaking duo behind Grave Encounters 1 and 2. Stuart’s most recent feature is Strange Harvest, a true-crime–styled, found footage film he wrote and directed. Strange harvest is a serial-killer faux documentary that effectively weaponizes the aesthetics of Netflix true-crime docs by luring you into a false reality with a familiar documentary style then turning up the horror with deeply unsettling imagery that looks and most importantly, feels very real. It’s certainly one of the most unflinching and innovative found footage movies in recent years and has earned plenty of special praise for its naturalistic performances, grisly practical effects and overall dread. In this conversation, Stuart and I get into his career history, the making of Strange Harvest and how to execute modern found footage with high impact and a low budget, on today’s episode of The Nick Taylor Horror Show. Without further ado, here is Strange Harvest Director, Stuart Ortiz. Key Takeaways Embrace CGI strategically as a problem solver. A lot of purist horror cinephiles grumble at the use of CGI, and I agree that it shouldn’t be overused—but it also shouldn’t be avoided, because it can solve colossal problems. The pool scene is a perfect case study: filling an Olympic-sized pool would have required roughly 35,000 gallons of water, which was both budget-killing and ethically questionable during a drought. Instead, Stuart used VFX to build the water and environment, and it wasn’t even all that expensive. Use CGI where it’s the cleanest solution to a real-world constraint, and save practical effects for what sells the tactile reality. Indie budgeting is often about where you don’t spend. Stuart minimized spending on a large crew, expensive cameras, and elaborate lighting because the format called for rough, archival-style imagery and on-the-fly filmmaking. Instead, he spent heavily where failure would be fatal: special FX makeup, which made up about 15–20% of the budget. He knew horror audiences would be especially scrutinizing when it came to effects (and he was right), so he spent disproportionately in that area—and it clearly paid off. Budgeting a movie can be complicated, but Strange Harvest proves that it’s important to spend where you’ll get the highest return on your investment. Wear more hats than you’re used to. Stuart states that it’s unrealistic for directors to “just” direct nowadays, especially on micro-budgets. Strange Harvest exists largely because Stuart didn’t just direct—he also wrote, edited, and produced the film. On top of that, much of the crew wore multiple hats across the board, which is ultimately how the movie was able to get made. It may not be glamorous, but it’s how movies actually get finished. Show Notes Movies and Shows Mentioned Strange HarvestGrave EncountersLake MungoThe Poughkeepsie TapesTiger KingThe Blair Witch ProjectGhostbustersGhostbusters 2

Peter Hall and Paul Gandersman are the writer/directors behind Man Finds Tape, a faux documentary horror film that uses mixed media, curated “evidence,” and found footage logic to tell a cosmic horror story about a malevolent force that overtakes a small town. In this episode, Peter and Paul break down how the making of Man Finds Tape, including how they approached the cinematic language of using a multitude of different types of cameras and filmmaking styles to achieve their signature blend of found footage and cinematic surrealism. On today’s episode of The Nick Taylor Horror Show, here, without further ado, are Peter Hall and Paul Gandersman. Key Takeaways Take what your actors give you. Paul and Peter discuss a situation where their actors came to a character meeting so well prepared that they as directors were able to sit back and let the actors figure out all of the backstory themselves. The actors braistormed without their involvement for about an hour and did a ton of heavy lifting. More egotistical directors would have stepped in and asserted themselves but Paul and Peter had the good sense to realize that their actors were locked into their characters to such a high degree and they let them drive. When this happens it’s magic, but so many people ruin it by being precious. This is a two part lesson, one, hire actors who can also be collaborators and 2, when they start figuring things out on their own, give them ownership and get the fuck out of their way. Target personal fears, over generic scares. Peter and Paul mentioned a term I’d never heard before, trypophobia which is an intense, irrational fear or disgust triggered by looking at clusters of small holes, bumps, or intricate, repetitive patterns. They integrated this fear and unease into their body horror effects and even though I didn’t have this phobia before, I think I might it after watching this movie. There’s something very effective about tapping into irrational and obscure fears because they’re more common than you think. Human beings have all kinds of evolutionary neurosis that you can explore and exploit as a filmmaker to give your movies a surgical level of unease. This is a fascinating and fertile ground to harvest and worth studying. Tone and vibe over exposition. The movie has a masterfully constructed tone of dread that is very singular to Man Finds Tape. Constructing a frequency for your movie that’s this sharp and affecting is one of the most challenging aspects of filmmaking, and it’s on full display here. Peter and Paul discussed how when they were editing the movie, they focused more on the feeling the movie would evoke, rather than getting bogged down in plot specifics or exposition. Ultimately, your audience will reflect on how the movie made them feel instead of what the plot revealed. David Lynch is a master of doing this; evoking feeling without having much concern for exposition. Show Notes Movies Mentioned Man Finds TapeLake MungoThe Blair Witch ProjectV/H/SShelby OaksDream EaterStrange Harvest28 Years LaterSomething in the...

Ben Leonberg is the writer and director of Good Boy, the breakout indie horror film told entirely from the point of view of a dog. Shot over three years with a crew of three people and made for under seventy thousand dollars, Good Boy became a theatrical and streaming success, earning over $8 million at the box office, mostly due to its inventiveness, emotional depth, and commitment to a single, bold idea. In this episode, Ben tells us the whole story behind Good Boy, from humble beginnings to box office breakout. He also gets into the details behind shooting horror from a dog’s point of view, the critical importance of sound design in horror, and the practical lessons he learned while shooting more than four hundred days with his dog Indie. Here are some key takeaways from this conversation with Ben Leonberg. Limitations can be a feature, not a bug Ben’s process making Good Boy was a masterclass in embracing creative limitations. From directing a dog who couldn’t take cues, to shooting without a traditional crew, all while working within a $70,000 budget, Ben built the film around his constraints instead of fighting them. He followed the classic Robert Rodriguez rule: write the movie around what you already have. In Ben’s case, that meant a dog and an old cabin. He and his wife shot most of the movie themselves, structuring the entire production around their available resources. The mindset of designing a film around what you can uniquely do is a powerful model for indie filmmakers. In Ben’s case, those constraints led to a strikingly original idea: a horror movie told entirely from the perspective of a dog. That single choice shaped every creative decision; camera height, lensing, blocking, editing, sound, and pacing. What began as a limitation became the film’s identity. Sound is vital for horror As we’ve covered many times, in horror, sound goes a long way, and Jennifer Kent, Director of The Babadook, even says it’s just as important as your visuals. In Good Boy, which had minimal traditional exposition or visual cues, sound became essential—not just for scares, but for tone, tension, and atmosphere. Composer Sam Boutilier went so far as to build a custom instrument to create the film’s signature eerie, otherworldly tones that had never been heard before. For horror filmmakers working with limited budgets, sound design isn’t just a finishing touch but an opportunity to elevate the entire film. A long production timeline can be an advantage The film was shot over three years, across more than 400 shoot days. With such a small team and total control over gear and scheduling, Ben was able to work slowly and deliberately, testing ideas, reshooting scenes, refining edits, and evolving the movie over the course of years. In most productions, time is the scarcest and most expensive resource. But when you own the entire timeline, time becomes your biggest asset because it gives you the space to problem-solve creatively, discover better choices, and polish your film beyond the limits of its budget. Show Notes Movies Mentioned

Brandon Christensen is a Canadian filmmaker and VFX artist whose directorial work includes Night of the Reaper, Superhost, Puppet Man, and VFX work on multiple films with a particularly close collaboration with Joe Begos on VFW, Bliss, Jimmy and Stiggs, and Christmas Bloody Christmas. In this conversation, Brandon walks through the making of Night of the Reaper, his latest film, which is a nostalgic 80’s style slasher with very heavy Halloween vibes. Brandon also gets into how to consistently make films with limited resources, why he takes on editing and VFX himself, and how to achieve compelling period production design on a budget. Key Takeaways Design period detail around what exists. To create an authentic 1980s vibe without a big period budget, Brandon’s team scouted unchanged locations, bought used furniture and TVs, and leaned on production people who could find pockets of the past. When money is limited, good location scouting and clever prop reuse do most of the heavy lifting. Wearing many hats saves money and shapes the film. Brandon edits and does VFX on his films because it keeps the money on screen and lets him really control everything from tone to pacing. This equation means lower overhead and a highly personal imprint on every frame, but be cautious because it also makes criticism sting even more because much more of the work has been done by you. So if you take on multiple roles, expect both the creative control and the emotional cost. Make the movie you can actually make. Brandon survived multiple financing setbacks by refusing to let the project die. When previous investors walked, he scaled down the project according to the money that existed. The result was a finished film rather than a stalled ambition. Practical lesson: prioritize completion over perfection because careers are contingent on forward momentum and experience. His repeated, practical advice to creators: do not overcomplicate your first projects. Shoot small, fail quietly, learn fast. The path deepens by doing, not by waiting for the perfect package or deal. Show Notes Movies Mentioned Night of the ReaperSuperhostPuppet ManStillbornIt Stains the Sands RedVFWBlissJimmy and STIGsChristmas Bloody ChristmasHouse of the DevilStranger ThingsWhen a Stranger CallsScreamRosemary’s BabyDonnie DarkoPulp FictionAvengers: Infinity WarWeapons Follow Brandon Christensen at: https://www.imdb.com/name/nm3417134/https://www.instagram.com/thebrandonchristensen/https://x.com/thebrandonc85https://www.facebook.com/brandonchristensendirector/http://thebrandonchristensen.com/

Show Notes Movies Mentioned Get OutPsychoCarrieFriday the 13thSharknadoThe ExorcistHereditaryContagionThe Evil DeadAn American Werewolf in LondonThe FlyWeapons Books and Stories Grimm’s Fairy Tales Follow Marc Malmdorf Andersen at: https://www.linkedin.com/in/marc-malmdorf-andersen-b2a67826a/https://pure.au.dk/portal/da/persons/mana%40cas.au.dkhttps://bsky.app/profile/ndersen.bsky.social Follow Mathias Clasen at: https://www.au.dk/en/mc@cc.au.dkhttps://www.youtube.com/user/mathiasclasenhttps://x.com/mathiasclasen Follow Recreational Fear Lab at: fear.au.dkhttps://x.com/recfearlab

Jay Drakulic, Mallory Drumm, and Alex Lee Williams are the filmmakers behind Dream Eater, a Lovecraft-inspired found-footage horror film shot on a shoestring budget in a remote Quebec cottage. When their original project lost funding, they rebuilt it from scratch, turning their setbacks into a creative advantage and crafting an intimate, atmospheric story about dreams, dread, and an unraveling relationship. The movie may be called Dream Eater, but the filmmakers’ story is a dream come true; powered by positive word of mouth and support from the online horror community, Dream Eater found a passionate audience and ultimately caught the attention of Eli Roth, who acquired the film and released it under his new horror production banner, The Horror Section. I really loved this interview, I connected with the filmmakers personally and found them to be very cool and inspiring because this story is very much in line with those of The Blair Witch Project and Paranormal Activity in terms of the ingenuity and tenacity among filmmakers who adapt and adapt and don’t take no for an answer and get their movies made regardless of anything and ultimately is what this podcast is about. Key Takeaways Transmutation: Turn limitations into opportunity and never submit to defeat. The creators of Dream Eater originally had a larger-scale, higher-budget project in motion — until the funding fell through. Rather than throw their hands up and walk away, they went back to the drawing board and scaled their concept into something they could afford to shoot. Casting actors was out of reach due to the demanding conditions, so they cast themselves. There’s a massive lesson here in adaptability: as a filmmaker, you have to play the hand you’re dealt and make the movie you can make when you can make it. Hopefully, the next one has a bigger budget — but regardless of what you’re working with, the movie you can make now will be way better than no movie at all. Micro crews need macro output. An eight-person team meant every crew member wore multiple hats. When hiring for crew, it’s common for crew members to expect to stay in their lanes — and that’s completely understandable particularly in the context of union filmmaking. But on a micro-budget production, the mindset of “that’s not really my job” can be radioactive. Your crew needs to be down for the chaos you’re about to unleash. But of course, be fair and be reasonable; pay what you can — either in cash or points — but take the time to find a crew that’s truly in it with you and willing to wear multiple hats. But here’s the caveat, as the filmmaker, you must always be the hardest-working person on set. Find your audience where they already are. The Dream Eater team built buzz through festivals and the online horror community, most notably TikTok’s HorrorTok — a vibrant ecosystem of horror influencers and fans. Thanks to a few key TikTok creators, buzz about the film went viral, which got the attention of Eli Roth. When promoting a film, it’s essential to know, understand, and ideally befriend the horror community. HorrorTok played a major role in the success of Dream Eater, and it’s a reminder that one of the most effective ways to support your art is by authentically engaging with the people who love the genre as much as you do. Understanding marketing is crucial — but connection is everything. Show Notes Movies and Works Mentioned Dream EaterAsleepThe NightmareDagonIn the Mouth of MadnessThe Blair Witch ProjectEvil...

William Earl is the Executive Digital Director at Variety and the lead organizer behind the first annual Variety Horror Impact Report. The report spotlights the filmmakers, producers, executives, festival directors, and creative leaders defining the horror today. In addition to overseeing all digital editorial functions for Variety, William is recognized as the publication’s resident horror expert, covering the business side of entertainment with a particular focus on how horror operates as both a cultural force and a commercial engine. In this episode, Bill unpacks why 2025 has been another landmark year for the genre, unpacks the state of horror journalism and details what programming and inclusion efforts look like when aiming to build a healthier horror community. On today’s episode of The Nick Taylor Horror Show, here, without further ado, is William Earl. Show Notes Movies Mentioned SinnersWeaponsBring Her BackFinal Destination: BloodlinesThe MonkeyParanormal ActivityInsidiousMeganThe Black Phone 2Jimmy and STIGsHouse of the DevilFinal Destination Books and Reading King SorrowHorror Impact Report Follow William Earl at: https://www.imdb.com/name/nm12009925/https://x.com/BeautifulBillhttps://www.linkedin.com/in/wearl/

Joe Begos is a renegade indie filmmaker and a household name in horror. His body of work includes Bliss, VFW, The Mind’s Eye, Christmas Bloody Christmas, and his latest splatterfest Jimmy and Stiggs—which is easily one of my favorite horror films of the year. I love this movie, I love that it exists, and I love what it represents. Joe is one of the most adaptive and irrepressible filmmakers I’ve ever met—he’s worked across multiple budget tiers and has delivered a consistent stream of bold and unique horror films throughout his career. What Joe has proven to me—film after film—is that there’s no excuse not to make movies, and no excuse for them not to be good. Jimmy & Stiggs was shot entirely in his apartment, on a shoestring budget, and stars Joe himself. But despite its humble production origins, the film is propulsive, fun, fully unique, looks fantastic and was edited beautifully by former guest Josh Ethier. The film holds its own next to splatter classics like Evil Dead, Dead Alive, and Bad Taste, all while staying true to Joe’s gonzo, neon-soaked style. In this conversation, Joe walks us through the insane 4 year journey of making Jimmy & Stiggs, his process, influences, alien creature design and the chain of events that led to Eli Roth picking up the film. He also offers his blunt, no-BS advice to emerging filmmakers. Key Takeaways Imitate before you Innovate Joe describes his early films, like Almost Human and The Mind’s Eye, as exercises in emulating his inspirations like John Carpenter and Cronenberg. It wasn’t until Bliss that he felt like he’d really found his voice, but to get there, he had to imitate the masters that came before him. Once he found his voice, he fully committed to making movies only he could make. Make movies only you can make Joe has one of the most defined directorial signatures in horror today—every one of his films is instantly recognizable as his. This commitment to personal vision has allowed him to carve out a cinematic identity that stands apart from the increasingly homogenized landscape of genre filmmaking. Developing a body of work that is unmistakably your own is a high watermark for any filmmaker and a path to building a sustainable, meaningful career. Make your fucking movie If you look at Joe’s career, one thing is clear—he does not stop making movies. Jimmy & Stiggs was born during COVID, between greenlit projects, when the industry was on pause. Instead of waiting around, Joe did the classic indie move: he took inventory of what he had access to—his apartment, a camera, a few close collaborators—and made a movie, casting himself in the lead. Joe’s irrepressibility is something to study. He seems physically incapable of not making movies—and he’ll sacrifice his apartment, personal finances, and whatever else it takes to get the job done. This is the kind of relentless drive that indie filmmaking demands. Joe is also well aware of how the system works. Agents often discourage small projects because there’s no commission in it for them. But Bliss and Jimmy & Stiggs—two of his lowest-budget films—were made outside of that system, on his own terms, and ended up being some his most talked-about work. For filmmakers being told to wait their turn, Joe’s message is simple: don’t. Make your fucking movie. Even if it sucks, it’s better than having no movie at all. Jimmy & Stiggs is now streaming on VOD. Show Notes Movies: BlissVFWChristmas Bloody ChristmasThe Mind’s EyeAlmost HumanJimmy & StiggsEvil...

Clark Collis is a British author and journalist best known for his long career at Entertainment Weekly, where he spent 18 years as a senior writer. Clark is the author of two major books on horror: You’ve Got Red on You: How Shaun of the Dead Was Brought to Life (2021) and, most recently, Screaming and Conjuring: The Resurrection and Unstoppable Rise of the Modern Horror Movie (2025). Screaming and Conjuring is a must-read for horror fans. Spanning the era from Scream to The Conjuring—with a final chapter capturing everything that’s happened since—it’s the closest thing we have to a definitive historical textbook on contemporary horror. At over 500 pages, it’s surprisingly fast-paced, mapping the genre’s waves, franchises, and creative crosscurrents to show why horror keeps coming back—and why it matters now more than ever. In this conversation, Clark unpacks horror’s recent banner year, explores the genre’s resilience, and traces the movements that shaped it over decades. On today’s episode of The Nick Taylor Horror Show, here—without further ado—is Clark Collis. Show Notes Movies Mentioned Books and Resources Follow Clark Collis at: https://www.imdb.com/name/nm6020968/https://www.instagram.com/clarkcollishttps://x.com/ClarkCollishttps://www.linkedin.com/in/clark-collis-98878840/