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.

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.

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.

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.

1. Good Boy
2. Poltergeist
3. The Shining
4. Psycho
5. Jaws
6. Raiders of the Lost Ark
7. Duel
8. Drag Me to Hell
9. The Innocents
10. Smile
11. One Bedroom
12. In a Violent Nature
13. 101 Dalmatians

1. IMBd: https://www.imdb.com/name/nm3828044/
2. Instagram: https://www.instagram.com/ben_leonberg/
3. LinkedIn: https://www.linkedin.com/in/ben-leonberg-ab797556/
4. Website: https://www.benleonberg.com/

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.

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.

Movies Mentioned

• Night of the Reaper
• Superhost
• Puppet Man
• Stillborn
• It Stains the Sands Red
• VFW
• Bliss
• Jimmy and STIGs
• Christmas Bloody Christmas
• House of the Devil
• Stranger Things
• When a Stranger Calls
• Scream
• Rosemary’s Baby
• Donnie Darko
• Pulp Fiction
• Avengers: Infinity War
• Weapons

• IMBd: https://www.imdb.com/name/nm3417134/
• Instagram: https://www.instagram.com/thebrandonchristensen/
• X (Twitter): https://x.com/thebrandonc85
• Facebook: https://www.facebook.com/brandonchristensendirector/
• Website: http://thebrandonchristensen.com/

Movies Mentioned

• Get Out
• Psycho
• Carrie
• Friday the 13th (franchise)
• Sharknado
• The Exorcist
• Hereditary
• Contagion
• The Evil Dead
• An American Werewolf in London
• The Fly
• Weapons

Books and Stories

• Grimm’s Fairy Tales (Brothers Grimm)

• LinkedIn: https://www.linkedin.com/in/marc-malmdorf-andersen-b2a67826a/
• Website: https://pure.au.dk/portal/da/persons/mana%40cas.au.dk
• Bluesky: https://bsky.app/profile/ndersen.bsky.social

• Website: https://www.au.dk/en/[email protected]
• YouTube: https://www.youtube.com/user/mathiasclasen
• X (Twitter): https://x.com/mathiasclasen

• Website: fear.au.dk
• X (Twitter): https://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.

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/