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.

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.

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.

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.

Movies and Works Mentioned

• Dream Eater
• Asleep (original concept)
• The Nightmare (Rodney Ascher documentary)
• Dagon
• In the Mouth of Madness
• The Blair Witch Project
• Evil Dead
• Phantasm
• The Exorcist
• Jaws
• Psycho
• Spun
• The Pest

Books and Myth Sources

• H. P. Lovecraft stories including The Dreams in the Witch House, The Outsider, and At the Mountains of Madness

Festivals, Communities, and People

• H. P. Lovecraft Festival (Portland, OR)
• Found-footage festivals in San Francisco
• TikTok’s Horror Talk community
• Influencers including “Uncle Chuck” and others who championed the film
• Peter Kuplowsky and TIFF Midnight Madness (mentioned as festival reference)
• Eli Roth (acquired the film)
• Beyond Fest (Egyptian Theatre screening)

• IMBd: https://www.imdb.com/name/nm6599086/
• Instagram: https://www.instagram.com/jaydrakulic/

• IMBd: https://www.imdb.com/name/nm6896430/
• Instagram: https://www.instagram.com/mallorydrumm/
• LinkedIn: https://www.linkedin.com/in/mallory-drumm-5a961745/

• IMBd: https://www.imdb.com/name/nm4296484/
• Instagram: https://www.instagram.com/richdammrich/
• LinkedIn: https://www.linkedin.com/in/alex-lee-williams-81723027/

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.

Movies Mentioned

• Sinners
• Weapons
• Bring Her Back
• Final Destination: Bloodlines
• The Monkey
• Paranormal Activity
• Insidious
• Megan
• The Black Phone 2
• Jimmy and STIGs
• House of the Devil
• Final Destination franchise

Books and Reading

• King Sorrow by Joe Hill
• Horror Impact Report

• IMBd: https://www.imdb.com/name/nm12009925/
• X (Twitter): https://x.com/BeautifulBill
• LinkedIn: https://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.

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.

Movies:

• Bliss
• VFW
• Christmas Bloody Christmas
• The Mind’s Eye
• Almost Human
• Jimmy & Stiggs
• Evil Dead
• Dead Alive / Braindead
• Bad Taste
• Communion
• Predator
• Street Trash
• Terminator 2: Judgment Day
• Natural Born Killers
• JFK
• Nixon
• King of New York
• The Addiction
• A Dangerous Game
• The Ritual
• Hellraiser (2022 remake)
• American Movie

TV Shows:

• Unsolved Mysteries
• Sightings
• The X-Files

Directors Referenced:

• Oliver Stone
• Abel Ferrara
• Gaspar Noé
• Sam Raimi
• Peter Jackson
• David Bruckner

• IMBd: https://www.imdb.com/name/nm3976308/
• Instagram: https://www.instagram.com/joebegos/

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.

Movies Mentioned

• The Monkey
• Sinners
• Weapons
• 28 Years Later
• Final Destination: Bloodlines
• The Conjuring
• Immaculate
• The First Omen
• Abigail
• Shaun of the Dead
• Grindhouse
• Jimmy and Stiggs
• Barbarian
• Long Legs
• The Mummy
• The Sixth Sense
• The Blair Witch Project
• Stir of Echoes
• Stigmata
• Ravenous
• End of Days
• Resident Evil and 28 Days Later
• Saw

Books and Resources

• Nightmare Movies by Kim Newman, recommended reading for earlier periods of horror history
• The Zombies That Ate Pittsburgh

• IMBd: https://www.imdb.com/name/nm6020968/
• Instagram: https://www.instagram.com/clarkcollis
• X (Twitter): https://x.com/ClarkCollis
• LinkedIn: https://www.linkedin.com/in/clark-collis-98878840/

Scott Brown and Anthony King are the Tony-nominated writers behind Beetlejuice the Musical. Together they adapted Tim Burton’s cult classic into a Broadway hit that blends grief, special effects, and lots of laughs. I am an unabashedly huge fan of Beetlejuice the Musical, which first opened on Broadway in April 2019, closed in March 2020 due to the pandemic, returned for a second run in April 2022, and wrapped again in January 2023. Now the show is set for its third Broadway engagement at the Palace Theatre, running October 8, 2025 through January 3, 2026, and I cannot wait because I have really missed this show.

In this conversation, Scott and Anthony share how they built the show’s unique tone, why fourth-wall breaking was the key to unlocking Beetlejuice onstage, and how endless iteration in workshops and previews sharpened the comedy and emotional beats. They also discuss the responsibility of protecting and adapting iconic properties.

Here are Scott Brown and Anthony King.

Stage & Film Projects Mentioned

Beetlejuice the Musical

Beetlejuice Jr.

Gutenberg the Musical

Beetlejuice

Lost Boys (musical in development)

Death Becomes Her (musical adaptation referenced)

Hamilton (filmed stage production mentioned as preservation model)

Stranger Things stage production

Movies & Shows Referenced

Deadpool (comparison for Beetlejuice’s tone)

Rick and Morty

South Park

People Mentioned

Tim Burton (original film director)

Michael McDowell (original Beetlejuice screenwriter)

Eddie Perfect (songwriter, performing Beetlejuice in Australia)

Alex Brightman (actor, Beetlejuice on Broadway)

• Instagram: https://www.instagram.com/9scott9
• Website: https://www.scottbrownwritesthings.com/
• IMDb: https://www.imdb.com/name/nm4447552/

• IMDb: https://www.imdb.com/name/nm1511524/
• Instagram: https://www.instagram.com/theanthonyking/
• Facebook: https://www.facebook.com/theanthonyking/
• LinkedIn: https://www.linkedin.com/in/anthony-king-4738a594/

Hey everyone, back with another monthly episode of The Howl, where me and my cohost Adam Cruz break down the biggest horror news, share what we’ve been watching, and talk all things horror. This month we’re joined by screenwriter, producer, and director Joe Russo (Nightmare Cinema), who brings some serious insider perspective to the conversation.

Our goal with The Howl is to catch listeners up with all of the horror news they might have missed from the past month in a fun, conversational format. If you want a quick-read version of The Howl sent straight to your inbox every month, sign up for my newsletter at nicktaylor.com/thehowl.

We’re easing back into doing this on a regular basis and wanted to focus this conversation mostly on industry insight which Joe is particularly dialed into as you’ll see. Please enjoy this month’s Howl podcast.

So without further ado, here’s me, Nick Taylor, with Adam Cruz and Joe Russo on this month’s segment of The Howl.

Amityville Horror (1979 and 2005 remake)

Lights Out

Companion

Weapons

Contracted

Nightmare Cinema

The Conjuring series

Annabelle Comes Home

Salem’s Lot (new version)

Poltergeist (TV development)

Alien: Earth

Obsession (Curry Barker)

Strange Darling

The Long Walk

The Ring (Japanese and US versions)

Barbarian

Weapons

Blair Witch (upcoming Lionsgate iteration)

Magic (remake)

Good Boy

The Presence

M3GAN and M3GAN 2.0

The Lost Boys

An American Werewolf in London

The Undertone

Talk to Me

F1

Together

Longlegs

The Conjuring (upcoming HBO Max series)

Stranger Things

The First Shadow (Stranger Things play)

Beyond Fest

Colors of the Dark Podcast

The Innocence Project

• Instagram https://www.instagram.com/murdermemes_
• TikTok: https://www.tiktok.com/@murdermemes_
• Store: www.murdermemes.shop

• Instagram: https://www.instagram.com/nicktaylorhorrorshow/
• TikTok: https://www.tiktok.com/@nicktaylorhorrorshow
• YouTube: https://www.youtube.com/@Nicktaylorhorrorshow
• Website: www.nicktaylor.com

• Instagram: https://www.instagram.com/joerussogram
• X (Twitter): https://x.com/joerussotweets
• Website: https://joerussofilm.com/
• IMBd: https://www.imdb.com/name/nm2349665/

Joshua Lastine is an entertainment attorney and the founder of Lastine Entertainment Law, representing actors, directors, writers, producers and more. A former in-house lawyer at Lionsgate and ViacomCBS, he has worked on high-profile projects such as Halloween (2018) and The Blackening, as well as massive Netflix productions, indie films, and everything in between.

Recognized by Variety as a Hollywood Deal Maker, Joshua also serves as an adjunct lecturer in Entertainment Business Law at The Los Angeles Film School.

A lifelong horror fan with a collection of VHS, DVDs, and Blu-rays, Josh brings deep genre knowledge to his legal practice, helping creators navigate contract pitfalls, IP disputes, distribution hurdles, and budget constraints. Since founding Lastine Entertainment Law in 2021, he has been dedicated to empowering artists and safeguarding their creative rights while bridging the worlds of horror fandom and Hollywood deal-making.

In this conversation, Josh breaks down the legal and contractual realities that every filmmaker needs to understand, from optioning IP and attaching talent to navigating distribution deals and protecting your rights. He also shares practical advice on unions, strikes, and why legal literacy is one of the most empowering tools a creative can have.

On today’s episode of The Nick Taylor Horror Show, here, without further ado, is Joshua Lastine.

Build your legal relationship early.

Joshua’s first counsel is simple. Do not wait for a contract to land in your inbox. Grab coffee with an entertainment lawyer, establish rapport, and get them looped in before deals apply pressure. He even outlines a smart starter plan for indies: raise an initial 25K for a line producer, budget, legal, and accounting, so chain of title and financing agreements are set before momentum stalls.

Know your money lanes.

He breaks down the big buckets: equity, debt, tax credits, and crowdfunding. Debt requires careful counsel. Equity means real finance docs and a clean LLC structure. Crowdfunding can be powerful when paired with creative perks, like the Eli Roth “we will kill you on screen” idea that trades access for cash.

Investors buy more than ROI.

For many backers, the value is experience and access: a set visit, a cameo for a family member, festival credentials. Pitch decks and sizzles matter, but so do relationships, attachments, and a clear sense of your project’s look and tone in seconds. Package visually and socially, not just financially.

Product placement is real money.

Joshua points to Smile weaving Voss Water into its story as a character beat, likely putting real cash onto the screen. He and Nick also cite Weapons using Liquid Death cans in a 7-Eleven fight scene. The takeaway: brands can offset costs or boost perceived scale if you integrate them thoughtfully and on-brand.

Keep chain of title airtight.

Lawyers can’t help if ownership is murky. Joshua stresses that rights must flow cleanly from screenplay to delivery, or distributors and E&O carriers will balk. This is the “heavy lifting” that protects your sale, your investors, and your future library value.

Use AI and templates with judgment.

For tiny, low-risk projects, basic templates or AI can help you start. The moment budgets rise, name talent appears, or you touch debt and distribution, you need a lawyer shepherding the paperwork and negotiating terms. That is the difference between scrappy and exposed.

Understand franchise rights before you touch legacy IP.

He flags how messy rights can be. A Nightmare on Elm Street and Friday the 13th remain tangled. Chucky and Child’s Play split across different rightsholders, which is how we got the Aubrey Plaza reboot while the Mancini-led “Chucky” continues elsewhere. Do not assume public familiarity equals available rights.

The market is hungry for horror, but taste still matters.

Joshua and Nick call out the current wave: PVOD windows are the new Friday night, Smile and Smile 2 did numbers, and fandom can lift scrappy indies to theaters. Not every film will be for every viewer, but well-crafted, fan-forward work travels.

Pitch like a pro.

In 2025, you need a sizzle that communicates look, feel, and vibe instantly, plus a deck, attachments, and a clear plan to reach your audience. You are not just selling a script. You are selling probability of execution and a credible route to eyeballs.

Career durability is strategic.

Joshua’s role model stance is “boots on the ground” counsel who keeps the train on the tracks while clients grow. Filmmakers should mirror that mindset: keep learning, keep relationships warm, and build a repeatable process that survives tight cycles and shifting distribution norms.

Movies Mentioned

• Abraham’s Boys
• Immaculate
• The Exorcist
• Smile
• Smile 2
• Weapons
• A Nightmare on Elm Street
• Friday the 13th
• Child’s Play (2019 reboot noted with Aubrey Plaza) / Chucky universe
• The Texas Chainsaw Massacre: The Next Generation
• Killer Joe
• A Time to Kill
• Evil Dead
• Evil Dead II
• Army of Darkness
• Cabin in the Woods
• Suspiria (Guadagnino remake referenced)
• It (1990, Tim Curry)
• Jurassic Park
• Scream
• Leprechaun
• War of the Worlds (remake referenced)
• Thor
• The Black Phone 2
• Agonist (short)
• REM (short)

Books & Resources

• Making Movies by Sidney Lumet
• Story by Robert McKee
• Save the Cat by Blake Snyder

• IMBd: https://www.imdb.com/name/nm8524601/
• LinkedIn: https://www.linkedin.com/in/joshua-r-lastine-b3632b42/
• Instagram: https://www.instagram.com/lastinelaw/
• Website: https://lastineentertainmentlaw.com/

Boaz Yakin is a New York City–born filmmaker, screenwriter, and producer known for his versatile work across indie dramas, mainstream hits, genre films, and TV. He began his career young, selling his first screenplay (The Punisher) at 19, and quickly made a name for himself with gritty urban stories and emotionally resonant character work.

Boaz directed Remember the Titans with Denzel Washington, Safe starring Jason Statham, Max, Uptown Girls, A Price Above Rubies, Death in Love and his indie horror mystery Boarding School among many others.

Beyond directing, as a writer, his credits include The Rookie, Prince of Persia: The Sands of Time, and Now You See Me. He is also the executive producer and writer for the noir Apple TV+ series Lady in the Lake, and was executive producer of Hostel and Hostel 2 as one of the founding members of Raw Nerve alongside Eli Roth.

As impressive as this intro is, it still reflects only a small portion of Boaz’s prolific, extensive, and diverse body of work.

In this conversation, Boaz discusses his career as well as his evolution as a filmmaker, the challenges of working within and outside the Hollywood system, and why his favorite films are guided less by career strategy and more by creative curiosity. He also discusses how the key to rewarding work in cinema is chasing meaning, not validation.

This was a pretty awesome conversation that I was very honored to have with Boaz. Big thanks to my friend Scott Rose for putting us in touch. Without further ado, strap in, and get ready for this conversation with writer, director, and producer Boaz Yakin.

Boaz sold his first script at 19, but he didn’t just stumble into success or a superior storytelling ability — he was steeped in story from an early age. Growing up in a theatrical household and attending Stella Adler’s famed script analysis classes during high school gave him a formidable foundation in character, psychology, and subtext. This background trained him to understand the deeper currents beneath the text, a skill that directly influenced his ability to write sellable screenplays at such a young age and launch his career before he could even buy a drink.

This education also proved invaluable for Boaz as a director. Stella Adler taught that actors — and by extension, writers and directors — must understand every facet of a character’s environment: their culture, their religion, the tone of the scene and even the weather. These contextual details inform performance and behavior and are the difference between movies and cinema.

For filmmakers, building full character and environmental context informs every decision on set. The key lesson here is the importance of foundational education because learning the principles of story and writing can pay long-term dividends.

One of the most revealing points Boaz made was about the emotional toll of directing. Filmmakers are constantly having to say no to other creative collaborators — costume designers, cinematographers, actors — in order to preserve the vision of the film. Balancing that responsibility while also keeping your team inspired and not demoralized requires not only leadership, but emotional stamina and clarity of purpose.

Boaz notes that many successful directors tend to have narcissistic tendencies, which buffer them from the guilt or sensitivity that might get in the way of making tough decisions — but this can harm your work just as much as being a pushover. Being empathetic makes you a better artist and can help your work resonate with more people. What Boaz teaches us here is that in addition to being emotionally resilient, directors must be emotionally intelligent. It’s a balance you must learn.

Boaz expresses a deep discomfort with the notion of cinema as a medium for delivering clean messages or moral conclusions. He’s more drawn to the ambiguity of human experience — the gray areas where identity, emotion, and ideology collide without resolution.

When discussing his film Boarding School, Boaz emphasized that it wasn’t designed to convey a tidy moral or heroic arc. Instead, it was structured to explore unsettling territory — gender identity, family trauma, and psychological inheritance — without offering a clear-cut explanation or resolution. This reinforces his view that film should open up difficult questions rather than provide narrative comfort.

Boaz praises films like The Texas Chainsaw Massacre and Eyes Without a Face, not because they deliver messages, but for how they immerse viewers in mood, tone, and unease. He favors directors like Mario Bava and early Dario Argento, who constructed dreamlike, expressionist horror worlds that evoke emotion and dread without spelling things out. Boaz’s appreciation for these filmmakers is tied directly to their ability to leave room for interpretation and disorientation — and for questions.

For Boaz, real filmmaking — particularly in horror — still carries the capacity to push boundaries and leave the audience with discomfort and ambiguity. He believes that when filmmakers use the medium to explore rather than resolve, they not only reflect the true complexity of life but also respect the intelligence of their audience.

Movies Discussed

• Texas Chainsaw Massacre (1974)
• Eyes Without a Face (1960)
• Psycho (1960)
• Night of the Living Dead (1968)
• Dawn of the Dead (1978)
• Day of the Dead (1985)
• Henry: Portrait of a Serial Killer (1986)
• The Hills Have Eyes (1977)
• The Hostel series (2005, 2007)
• Boarding School (2018)
• Cemetery Man (Dellamorte Dellamore, 1994)
• Black Sabbath (1963)
• Black Sunday (1960)
• Blood and Black Lace (1964)
• Zombie (1979)
• The Beyond (1981)
• World War Z (2013)
• Now You See Me (2013)
• Fresh (1994)
• Remember the Titans (2000)
• A Price Above Rubies (1998)
• Aviva (2020)

Books & Writing

• The Artist’s Way by Julia Cameron

• IMBd: https://www.imdb.com/name/nm0945026/
• Instagram: https://www.instagram.com/boazyakinofficial/
• X (Twitter): https://x.com/boaz_yakin

We got a great one today, someone I’ve wanted to have on the show since year 1. Jim  Mickle is in the house. Jim is a director and writer, known for his bold genre-blending style. After graduating from NYU’s film program he made his directorial debut with the micro‑budget horror Mulberry Street (2006), followed by the vampire western Stake Land (2010). In 2013, he released his unsettling family cannibal remake (that legit gave me nightmares) We Are What We Are. Jim then ventured into noir-thriller territory with Cold in July (2014), starring Michael C. Hall and Don Johnson before transitioning to television by co-developing and directing SundanceTV’s Hap and Leonard (2016–2018). He then created, produced, and directed the Netflix fantasy series Sweet Tooth (2021–).

Jim has built a career on doing things his own way — often by learning things the hard way, but always with heart, vision, and grit.

In this episode, Jim dives deep into the evolution of his career — from his early days making guerrilla style films to becoming a Netflix show runner. He discusses how he learned to navigate the TV industry, the painful transition from indie DIY to studio systems, and how the business has transformed for filmmakers over the last 20 years. He also gets into his longstanding mentorship with Larry Fessenden and much more on this very special episode of The Nick Taylor Horror Show.

Set the Date — Make a Movie.

Human psychology is complicated, but sometimes it’s very simple. Just the act of picking a shoot date can mean everything. The moment you schedule a day to film something, your mind orients toward a tangible goal and the idea of filmmaking stops being a vague “someday” idea and becomes real, scheduled, and tangible. In 2005, Jim and his longtime collaborator set a hard deadline by which they’d start shooting something—even if it was just the two of them filming in a kitchen. That commitment led to Mulberry Street, a gritty, ultra-DIY feature shot in their own neighborhood with friends and minimal gear. It may not have been perfect—but it was finished. And it launched Jim. Sometimes, all you need to launch a career is a simple commitment in your Google Calendar.

Find Your Fessenden.

Larry Fessenden—who’s been on this show in one of my all-time favorite episodes—is a prolific creator and mentor. Jim credits him as a key figure in his career and someone he reached out to early on for advice. That connection evolved into a long-standing creative partnership: Larry went on to produce several of Jim’s films and helped him navigate both the craft of filmmaking and the maze of Hollywood. More than just a collaborator, Larry became a guiding presence—part mentor, part indie godfather—who shaped Jim’s growth as a filmmaker. Every filmmaker stands to benefit from a relationship like that. So reach out to that filmmaker you really admire because you never know what may happen.

Slow and Steady Wins the Race.

After four indie features, Jim transitioned to television gradually — starting with Hap and Leonard (which nearly crushed him) before eventually helming Netflix’s Sweet Tooth. That slow progression helped him adapt to larger crews, higher stakes, and network politics without losing his creative voice or burning out. Each project taught him how to scale. Jim warns against trying to move too fast.

In the Nat Geo documentary Jaws at 50, Spielberg talks openly about the PTSD he experienced from making Jaws. For years afterward, he’d visit the Universal lot and climb into the actual Orca boat and cry—literally to cry out the trauma he’d been carrying from the experience. He even had nightmares for half a decade. And while the grueling experience of making Jaws turned him into Spielberg, that level of pressure would have destroyed most filmmakers right out of the gate.

Careers should—and often do—progress at the pace of what you can mentally, emotionally and technically handle. Many people enter this industry dreaming of running a big set right out of the gate—but chances are, you’re not ready. You grow into those roles with experience. So embrace the process. Push yourself a little further with each project, but give yourself the time and space to evolve.

Movies Discussed

• Mulberry Street
• Stake Land
• We Are What We Are
• Cold in July
• In the Shadow of the Moon
• Blackout (Larry Fessenden)
• The Orphanage (remake attempt)
• Terrifier
• Talk to Me
• CODA
• Ted Lasso
• Jaws (and related documentary)

TV & Streaming

• Hap and Leonard (Sundance/AMC)
• Sweet Tooth (Netflix)
• Arrow (CW)
• Stranger Things (Netflix)

Books & Resources

• Rebel Without a Crew by Robert Rodriguez
• Joseph Campbell's Hero’s Journey

• IMBd: https://www.imdb.com/name/nm0585344/:
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Natasha Kermani is a director whose work includes Imitation Girl, Lucky, and V/H/S/85. Her latest feature, Abraham’s Boys, is an atmospheric, emotionally grounded take on Dracula and Van Helsing, adapted from Joe Hill’s short story.

The film explores the lives of Van Helsing’s sons, reframing familiar gothic mythologies through a new lens and examining the cost of obsession, legacy, and belief systems passed from parent to child. Abraham’s Boys blends Western aesthetics, intimate drama, and horror mythology to create something quietly powerful — and wholly its own. Available to rent on VOD and coming soon to Shudder.

In this episode, Natasha dives deep into the making of the film — from crafting a new visual language with her longtime DP Julia Swain, to working with horses and period locations, to adapting well-known material without undermining its origins. She also discusses the unpredictable nature of building a directing career, the importance of collaboration, and what it means to make films that ask questions instead of offering easy answers.

On today’s episode of The Nick Taylor Horror Show, here — without further ado — is Natasha Kermani.

LA is the New LA.

While many productions chase tax incentives out of state or overseas, Natasha shot Abraham’s Boys in California—and reaped the benefits. An experienced LA crew made traditionally tricky elements—horses, children, and stunts—run smoothly. Her stunt coordinator even lived nearby on a ranch, with a horse-wrangler wife ready to step in. Local crews weren’t learning on the job; they brought deep expertise, period-accurate resources, and an efficient workflow that protected high-risk days. In a time when LA has been nearly abandoned for cheaper pastures, the city’s seasoned talent pool has become a niche advantage for those who stay.

Test, Test, Test — Early and with Your Actual Actors.

Natasha didn’t just test lenses in a vacuum—she brought one of her lead actresses in costume for full camera tests. Seeing the lead actor’s face under various lighting setups, with period wardrobe and the chosen LUTs, gave a true preview of the film’s look. The process revealed not just what worked, but what didn’t, allowing for informed, confident decisions before day one of shooting. Testing with real elements—actors, costumes, lighting—ensures you’re dialing in the visuals of your movie, not a theoretical version of it.

Prioritize Mental Health and Self-Kindness.

Natasha reminds filmmakers that this industry is uniquely high-stakes, unpredictable, and expensive—and that sustaining creativity under those conditions is exhausting. Her advice: extend the same grace to yourself that you show others. Hustle culture can make rest feel like indulgence, but in a business this volatile, breaks and self-care aren’t luxuries—they’re survival tools. Replenishing your energy isn’t stepping back from your career; it’s what allows you to keep pushing it forward.

Movies Discussed

• Abraham’s Boys
• Imitation Girl
• Lucky
• V/H/S/85
• Dracula (1931)
• Bram Stoker’s Dracula (1992)
• Annabelle: Creation
• Deadwood
• Bosch

Books & Stories

• 20th Century Ghosts by Joe Hill
• Dracula by Bram Stoker

People & Resources

• Joe Hill (author)
• Julia Swain (DP)
• Jessie Rowland (AD)
• Dalton Simmons (stunt coordinator)
• Tim Wu (producer)
• Travis Tips (DP of Imitation Girl)

Locations

• Big Sky Movie Ranch (Simi Valley, CA)
• Monrovia, CA

• IMBd: https://www.imdb.com/name/nm2992403/
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