Episodes

“if you survive you'll never in a million years work on something as hard as a Troma film. You can only go up from there. It's where everybody should start. It shows you what you're made of. If you are weak at all, Troma will destroy you.”

“We didn’t have any connections in L.A. You just cold email people … You have to risk being that crazy person that comes out of left field, but hey, man, we're in a crazy industry. Just find people whose work speaks to you and find who's behind that

“the AD I think, the most important hire on a low-budget indie, 'cause they’re really the captain of the ship, that's making the movie happen. An AD that can work your resources in the right way and be creative which makes the movie a lot better.”

“If you want to become a screenwriter or filmmaker to get rich, well, fuck you … do it because you love it … Number one rule on making your film … is don't hire your friends as the actors unless they are the best possible actors around.”

“Filmmakers like myself, Sam Raimi, Tobe Hooper and George Romero … weren't working with a rule book. We were out there making movies and doing things that Hollywood would consider forboden. That's what gave these films a resonance to them.”

“I have to find the truth first. I'm not in it just to illicit thrills and spills and shocks and titillations. If you find the truth first, it's gonna be that much more impactful.”

“If you ask Netflix, they'll tell you … the future is one person at a time on his individual device, streaming a movie whenever he wants. Well, I don't think so, because it goes against our emotional needs … People are desperate for the shared exper

“It's all out there, and seriously, don't be afraid of reading. Don't be afraid of taking classes. Don't be afraid of taking Improv, because it's all out there for the young actor. Immerse yourself in as much as you can.”

“Being a good documentary filmmaker means being a good journalist, being a good interviewer and listening, is very key.”

One of the greatest and most inspirational figures in punk rock history, Doyle Wolfgang Von Frankenstein, offers his key advice for aspiring musicians and tells us what he’s working on next.

“To do a horror film on a low budget you have to prepare and you have to be able to make decisions quickly We learned with (Roger) Corman to hurry up and don’t congratulate yourself after the next shot, you’ve gotta be two shots ahead."

“Work really hard, and don’t say no to anything … Even if you go to film school and you think, ‘I should be directing,’ take a PA job. Take anything. I would go back to assisting if I could make it work.”

Grab your silver bullets, wooden stakes, some holy water and a ouija board or two, and join me, Nick Taylor, on this haunted hayride across today's horror business!