Episodes

Keith Thomas is an American writer and director who made his feature directorial debut with The Vigil from IFC Midnight. The Vigil tells the story of a young man in emotional emotional recovery after fleeing from his Hasidic community, who...

Kevin Lewis is an American director of multiple features, including The Method, Downward Angel, The Drop, and The Third Nail. Most recently, Kevin has wowed the horror crowd with Willy's Wonderland, a wonderfully bonkers 'survive the night horror...

Kourosh Ahari is an Iranian American director who just made his directorial debut with the horror-thriller, The Night, from IFC Midnight. The Night focuses on a young couple and their baby girl as they check into a hotel room that they suddenly cannot...

Rodney Ascher is an American documentary filmmaker, perhaps best known among us horror fans for ROOM 237 - a documentary that focuses on the exhaustively diverse amount of theories surrounding The Shining. Rodney’s other projects include The...

“I think the task of the horror filmmaker is to break through the conscious mind, which protects the unconscious, and hit that childhood fear, recreate it, and hopefully conquer that fear.”

"We did a couple of takes and I kept dropping my lines. I sat down, and I was getting self-conscious. Suddenly I heard this voice in my head say, "Bill, go over there and sit down. I got this." It was the voice of Otis. I realized I had to get out of the

“Honestly, my biggest piece of advice stems from Patton Oswalt, which is, ‘It's chaos. Be kind,’ because there are a lot of people in this industry that are not kind, and scream, and yell. Honestly, I've gotten where I am because of kindness. That a

“It's a risky thing to do, but I do recommend not giving yourself a choice. If you have a fallback that's too comfy, you won't end up doing enough work to get your first film made… It's an insane process, it's really difficult, and it's really trying,

“If anyone gives you a good idea and you're receptive to it and you can get over your ego, that's where some of the best stuff comes from. That crew will work 10 times harder for you because they feel like they're actually like having an impact on the p

“Wes Craven was an academic, and John Carpenter wanted to make Westerns, and George Romero wanted to make Tarzan movies. They fell into horror and they eventually embraced it, but their brand of horror was more groundbreaking because they weren't just i

“Cannes probably thought that they were buying a film from a real studio, but it was just three losers in a basement. Then we just continued to bring them out, Blood Runs Cold being our second film, which we did with a $5,000 budget. We never even attem

“Our sense of memory of Beetlejuice is so strong. That's also what we wanted, just the feelings that Beetlejuice evoked…We hope we can preserve that feeling we had when we were twelve or thirteen years old, and just loving this kind of celebration of

Eric Pham is a director who started his career in visual effects. Throughout the course of his career he worked extensively under the great Robert Rodriguez on such films as Spy Kids, Grindhouse, and Sin City. Eric also did work on Lethal Weapon 4 and...

In Search of Darkness is an upcoming horror documentary that comprehensively tells the story of 80’s horror, in all of it’s bloody, nostalgic glory. Having completed a successful Kickstarter campaign that surpassed it’s goal on day 2, director...

“I went to him and I said, ‘who are the two hottest horror directors in America?’ And he said, “John Carpenter and Wes Craven … They hate the fucking studios because they never give them final cut.” So I said ‘Okay, here's what I'll do, I’

“We find that, particularly recently, is that most of the digital guys we work with say, ‘Please, do as much of this as a practical effect on set as you can.’ And the director says, ‘Do as much of this as a practical effect as you can’ … For u

“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.”