1. How do you approach the balance between psychological terror and visceral horror in your films? 

 

With ‘My First Horror Film’ I knew I wanted implied violence to be the device I utilized. I didn’t want to show blood and guts and graphic violence on screen because I feel it can become a crutch. I’m more interested in figuring out how to make a situation terrifying than just showing a character being hit in the head 50 times with a hammer.

 

2. Can you discuss the role of suspense and anticipation in creating a truly chilling cinematic experience?

 

Without suspense and anticipation, I’m not sure you can have a chilling experience. They go hand in hand.

 

3. In the realm of horror, how do you navigate the fine line between pushing boundaries and potentially alienating your audience?

 

I grew up watching horror films with my father. When I was young I remember watching Jaws, Nightmare on Elm Street, and Alien; and when I got older I thought to myself ‘Those aren’t really for little kids.’ I wanted to make a horror film that could be watched by a wide age range of people so that the audience didn’t feel it was something they could watch. When we screened MFHF there were loads of people who said “I don’t like horror films,” but left saying I never thought I could walk in a horror film and leave feeling good. And that felt great. 

 

4. What draws you to explore the darker aspects of human nature through the medium of horror films?

 

Horror and Humor are closely related in my opinion because they exist in the realm of the absurd. ‘Abbott and Costello meet Frankenstein’ was the first film I can remember watching that blended humor and horror with success. It wasn’t necessarily a scary film but, the humor aspect made the horror more manageable to people who would have otherwise avoided it. Humor provided the release of the tension the horror built. Nervous laughter is a natural response to being scared and people react differently to feeling threatened and I wanted to play with that idea in my film. 

 

5. How do you use symbolism and allegory in your horror movies to comment on societal fears or issues?

 

I input it into imagery or dialogue in ways that don’t feel heavy-handed. Because a lot of issues can be addressed when someone is easily guided into the conversation and made to feel things weren’t forced.

 

6. Could you share your perspective on the psychological impact that sound design and music have in enhancing the horror genre?

 

I think great sound design can lift an otherwise forgettable scare to something otherworldly. I think about John Carpenter’s scores and how they simultaneously built the tension as the music itself built. Especially in Halloween, the music started with a basic chord being played, then the synths became more layered then the pace sped up, and with what was happening on the screen all of a sudden you’re wondering how the hell Laurie was going to escape. My favorite music accompaniment in the film is the sauna seen with ‘Black Guy.’ I felt like the score made the scene so much more enjoyable. 

 

7. What is your philosophy when it comes to subverting traditional horror tropes to keep your storytelling fresh and engaging?

 

I think the only way to subvert those things is by becoming a better writer.

 

8. How do you maintain a sense of originality in an industry saturated with horror content, and what inspires your unique creative vision?

 

I like to believe that with as many movies as I’ve watched, I should be able to steer clear of as many tropes as possible but, with this film, I also realize so many are built into the idea I’m critiquing, it’s my responsibility to make sure I don’t get lazy with their execution.

 

9. In your opinion, how does the international cultural context influence the way horror is perceived and received by different audiences?

 

That’s a tricky question because I’ve only known living in the US and there are certain references that I was worried wouldn’t be recognized or laughed at because there may be folks who have no idea what I’m talking about. And culturally, what scares us may be different as well. So, I try to work within the realm of possibilities. Situations that could potentially happen to anyone. 

 

10. Can you discuss the ethical considerations you take into account when depicting graphic violence or disturbing themes on screen?

 

The first question I ask myself is, ’What is necessary?’ Does this film or scene still work if I don’t show the violence? But, I like the idea of the audience being given the opportunity to create imagery for themselves. If I’m in the industry of imagination I shouldn’t be the only one engaging in it. Some things are scary because of how you imagine them. I also don’t know if I’m the kind of writer/director who wants to put their actors through extremely graphic scenes of violence for the sake of just horror. I think I would also consider how these themes could affect the actors themselves. 

 

11. What is the role of the uncanny and the unknown in eliciting fear, and how do you employ these elements to captivate your audience?

 

With MFHF I wanted to balance the known with the unknown by providing relatable situations allowing the audience into the fold in a more comfortable way.

 

12. How do you believe horror films can serve as a reflection of societal anxieties and act as a cathartic outlet for collective fears?

 

Horror films allow us to look at situations from the perspective of the victim and the hero depending on the commentary we’re trying to make, we can address a lot of societal anxieties and even create conversations around our collective fears if done correctly. Fear is universal. Whether internal or external.  

 

13. In your experience, how does the pacing of a horror film impact the tension and emotional engagement of the audience?

 

Pacing can make or break the emotional engagement your audience has with the film. It’s a skill that I’m working every day to master. 

 

14. As a director, how do you create a sense of empathy or connection with characters in a horror narrative, even when their actions might be morally questionable?

 

By creating characters interesting enough we want to care for them. Because once the audience cares about a character they begin to care about the situations they’re faced with.

 

15. What advice would you give to aspiring filmmakers seeking to venture into the horror genre, considering its intricacies and challenges?

 

Tell a story that you find interesting. Explore what makes this story interesting to you. Understand horror lives on a spectrum from the farcical to the ultra-violent slasher. So, it’s up to you to do the work. Preproduction is key. Especially when you have a smaller budget, make sure your team is efficient and aware of what they’re getting into. And that leaves us with budget, budget, budget. Find a line producer that can give you a real perspective on what can and can’t be done.