The Nick Taylor Horror Show

American Nightmare Studios

Exploring the techniques, strategies, and key pieces of advice for aspiring horror directors, straight from the minds of some of the greatest filmmakers and creators in horror. Host Nick Taylor engages in one-on-one conversations with directors, producers, writers, actors and artists to uncover the keys to their creative and professional success in the horror business.

  1. MORTUARY ASSISTANT Director | Jeremiah Kipp

    4D AGO

    MORTUARY ASSISTANT Director | Jeremiah Kipp

    Jeremiah Kipp is a New York–based horror filmmaker whose work includes The Sadist, Slapface, and The Geechee Witch: A Boo Hag Story. In this episode, Jeremiah breaks down his expansive career journey and finely tuned process for working with actors, maximizing low budgets, and keeping sets running smoothly. Jeremiah also discusses the importance of mentorship in his career, including his longstanding relationships with genre greats, and former guests of the show, Larry Fessenden and Jim Mickle. And of course, we dive deep into his most recent feature, the adaptation of the viral video game The Mortuary Assistant, coming to Shudder on March 27th. Without further ado, here is Mortuary Assistant Director, Jeremiah Kipp. KEY TAKEAWAYSChoose Material That Speaks to You Personally Jeremiah initially had little interest in adapting a video game. But when he played The Mortuary Assistant, he connected deeply to the protagonist, Rebecca Owens, a woman who hides inside her work to avoid confronting her personal demons. That personal entry point became his entire pitch: preserve the game’s dread and atmosphere while grounding the film in emotional vulnerability. He and game creator Brian Clark bonded over shared anxieties and experiences, and it became the start of an excellent collaboration because Jeremiah was able to relate to the material on a deeply personal level. When directing, it’s critical to put a big part of yourself into your projects, otherwise, why should you be the one to direct it? If you can’t channel personal experience into a movie, or if the producers don’t leave room for that, it might not be the right fit for you, and that’s fine. Find the emotional core that connects to your own life or unique sensibility. Otherwise, the movie becomes just a gig. Producers can tell when your heart isn’t in it. Audiences can too. Make it personal, or don’t do it. Make sure Everyone is Rowing in the Same Direction The Mortuary Assistant, a very creatively unified, cohesive production as opposed to an earlier project that Jeremiah passed on where the vision kept shifting. That earlier project had producers that first wanted Blair Witch-style dread, then Herschell Gordon Lewis gore, then something akin to Black Phone. This unfocused behavior is a MASSIVE red flag, and even if you’re just starting out, you should run because you’re probably being setup to fail. Of course, not everyone is going to agree and get your vision, but if producers don’t know what they want, or you’re getting massively conflicting feedback from those you’re meant to report to, no one will win, and you as the director will get all the blame. As Budgets Increase, Money Feels Smaller Jim Mickle warned Kipp: “As you move up the budget ladder, it feels like you have less money.” This is a fascinating paradox but really makes sense when you think about it. More money means more department heads, larger builds, higher actor costs, bigger expectations, more moving parts, and less margin for error. More money means better production value but often less time and less freedom. We all want bigger budgets but, heed this warning going in. De-escalation Is a Crucial Leadership Skill Movie-making is grueling and involves long nights, early mornings, physically punishing days, little sleep, and less-than-adequate nutrition from crafty — all within a high-pressure environment. In other words, it’s a recipe for potential volatility among those involved. Things go wrong on sets, tensions run high, and having worked on as many movies as he has, Jeremiah learned that de-escalating situations is a critical skill. A lot of would-be directors expect to take on a domineering presence where they demand full obedience from everyone on set. This attitude will have your cast and crew turning on you by day one, and your movie will suffer for it. Instead, assume a posture of humility. Take your ego out of volatile situations to relieve tension — even when the people you’re dealing with are the ones at fault. You gain nothing by arguing or by being “right,” especially if it comes at the expense of someone else. Your goal should never be to win or assert dominance, but to keep the movie on track by stabilizing those working around you. It’s massively humbling but absolutely critical. This doesn’t mean you tolerate blatant disrespect. But avoiding needless confrontation doesn’t make you weak; it makes you smart because you’re protecting the steadiness of your production. One bad attitude can poison a set quickly, so it’s critical to protect morale at all costs and handle conflict privately and strategically. The real leadership flex is emotional regulation. Show NotesMovies MentionedThe Mortuary AssistantSlapfaceThe Geechee Witch: A Boo Hag StoryThe BabadookHereditaryThe WitchI Sell the DeadFried BarryHalloween (John Carpenter)Dawn of the Dead (George A. Romero)The Last of UsSuper Mario Bros. (film)Blade RunnerDoom (film)The MegThe Autopsy of Jane DoeBernieRe-AnimatorGremlins 2: The New BatchStranger ThingsScary Stories to Tell in the DarkHellraiser (referenced via Cenobites discussion)Nightmare CinemaMasters of Horror (Joe Dante episodes)Mad Max: Fury RoadGremlins 3 (discussed as greenlit)HellbenderMother of FliesWhat Josiah SawTake ShelterSuperman (film referenced in the “three takes” anecdote)Mulberry StreetStake LandCold in JulyWendigoThe ThingBig Trouble in Little ChinaJurassic ParkPirates of the Caribbean Books and ResourcesThe Shining (Stephen King novel)Cold in July (Joe R. Lansdale source material referenced)IFP, Independent Feature Project (community and early career filmmaking support)Probe lens (used for extreme close-up mortuary procedure imagery)Mood boards and style guides for aligning producers and creative vision Follow Jeremiah Kipp at:IMBd: https://www.imdb.com/name/nm0456031/Instagram: https://www.instagram.com/jeremiah.kipp/

    1h 37m
  2. BODYCAM Director | Brandon Christensen

    MAR 20

    BODYCAM Director | Brandon Christensen

    Brandon Christensen is back. A Canadian horror filmmaker, his recent run includes Puppet Man, Night of the Reaper, and his most recent release, Bodycam. Brandon writes, directs, produces, edits, and often handles visual effects on his own films, building ambitious genre work by keeping crews small, budgets tight, and the process intensely hands-on. In this episode, Brandon breaks down the making of Bodycam, his found-footage feature told entirely through police body cameras. He also gets into how he’s been able to release four movies in the past six years, and shares his model for low-budget, high-impact horror filmmaking. On today’s episode of The Nick Taylor Horror Show. Key TakeawaysSpend on the people who can solve whole categories of problems.Rather than building a big crew, Brandon focuses on hiring a few choice highly capable collaborators who can wear multiple hats. He cites cinematographer Clayton Moore as a key example, since Clayton handled the camera system and also rolled sound during takes, which freed up money for other departments. His larger point is that on movies with this low of a budget, the trusted and dedicated people can be far more valuable than a larger headcount. Brandon’s approach is not about dismissing department but more about building a lean team around the specific needs of the movie. Shoot in Calgary or other undiscovered production hotspots.Brandon makes a strong case for building films in places like Calgary, where the production environment still works in an independent filmmaker’s favor. In his experience, the city offers a rare combination: people are less jaded by film shoots, locations are more attainable, and the city access can deliver real scope on screen. This all matters because production value is often less about how much money you have than how much access you can get. Brandon was able to pull off some very high production value scale on Bodycam, and it was largely due to having a very accessible production city. Brandon was able to use large houses, full streets, city blocks, and striking urban spaces that made the film feel much bigger than its budget. In a more production-saturated city, many of those same locations may have been harder to secure, more expensive, or simply out of reach for a small indie team. Calgary gave him room to move, and the movie benefits from it in every frame. Build a sustainable career where you can keep making things.Brandon is candid that the traditional studio path no longer appeals to him the way it once did. At this point in his life, he would rather keep making movies he can control than spend years in meetings chasing permission and larger budgets. Brandon is in his forties, has three kids, and no longer wants to organize his career around endless travel and meetings when he can continue making movies in Alberta. The deeper meaning of this conversation is that Brandon’s system is not just a production model; it is a life model. He wants to keep directing, keep learning, and keep getting back on set without sacrificing everything else. For filmmakers, that is a valuable perspective: sustainability is part of the craft. Show NotesMovies MentionedBodycamPuppet ManNight of the ReaperSuperhostHardcore HenryThe Last of Us Books and ResourcesAlberta Media FundMark Duplass Follow Brandon Christensen at:IMBd: https://www.imdb.com/name/nm3417134/Instagram: https://www.instagram.com/thebrandonchristensen/X (Twitter): https://x.com/thebrandonc85Facebook: https://www.facebook.com/brandonchristensendirector/Website: http://thebrandonchristensen.com/

    38 min
  3. THE BUNKER Director | Brian Hanson

    MAR 13

    THE BUNKER Director | Brian Hanson

    Brian Hanson is a veteran and filmmaker who’s features include The Black String and most recently, The Bunker, an ultra low budget alien invasion horror/thriller starring Chelsea Edmundson, Tobin Bell and the late great Tony Todd. Brian and I get into how he made The Bunker during the height of COVID, how to build a credible sci-fi world on an ultra-low budget and how his military service shaped his filmmaking discipline on today’s episode of The Nick Taylor Horror Show. Please give it up for Brian Hanson. Key TakeawaysThe obstacle is the way.The Bunker was born out of the darkest stretch of COVID, when Brian and his collaborators genuinely did not know when normal filmmaking would return. Rather than wait for ideal conditions, they reverse-engineered a story around what was actually possible: one actor on set at a time, a mostly empty institutional building, and remote communication like Zoom. That limitation led directly to the movie’s video-call structure and the film’s unique isolated sci-fi logic. The practical lesson is clear: when resources are limited, stop fighting the limitation and embrace it by building the premise around it. Showing less causes more impact.Brian knew they could not afford to show elborately concieved aliens so the film leaned into more original and frankly fascinating aspects of an alien invasion like telepathy, psychological breakdown, and mind control. That choice did more than save money; it sharpened the horror. The aliens become frightening because they invade thought, memory, and perception rather than simply appearing as creatures in frame, which has been done thousands of time before. It is a strong reminder that limitation often pushes filmmakers toward more distinctive, and sometimes more powerful, storytelling. Attention to detail is a creative skill, not just an administrative one.Brian’s military background sharpened his appreciation for systems, hierarchy, file naming, logistics, and precision. He connects that directly to filmmaking, where one mislabeled file or one overlooked production detail can cause disaster across departments and. His point is especially useful for younger filmmakers who romanticize spontaneity: professionalism and precision are not the enemy of creativity. They are often what allow the creative vision to survive contact with reality. Show NotesMovies and Shows MentionedThe BunkerThe Black StringHostArrivalCommunionFire in the SkyIndependence DayThe NightmareRoom 237The Shining2001: A Space OdysseyEvent HorizonColor Out of SpaceRe-AnimatorFrom BeyondThe MistThe EndlessStranger ThingsStranger Things: The First ShadowFinal DestinationOzJunoNight Visions TV and Paranormal Media MentionedSightingsThe X-FilesRescue 911Discovery+ paranormal programming, including ghosts, Bigfoot, and aliensCoast to Coast AM with Art Bell and George Noory Books and ResourcesH. P. Lovecraft’s fictionArthur Machen, cited as one of Lovecraft’s predecessorsThe King in YellowStephen King’s The ShiningArthur C. Clarke’s 2001: A Space Odyssey novel Follow Brian Hanson at:IMBd: https://www.imdb.com/name/nm6969909/Instagram: https://www.instagram.com/hanson375X (Twitter): https://x.com/hanson375LinkedIn: https://www.linkedin.com/in/brian-hanson-00689890/

    1h 1m
  4. TRAUMATIKA Director | Pierre Tsigaridis

    MAR 6

    TRAUMATIKA Director | Pierre Tsigaridis

    Pierre Tsigaridis is the filmmaker behind such indie horror films as Two Witches and Traumatika. Pierre is a quadruple threat as he writes, directs, DPs, and edits his own movies, and in this episode he breaks down the making of Traumatika, a very brutal possession story and exploration of trauma and abuse. Fair warning, the movie is called Traumatika so you can expect that we dive into darker than usual subject matter in this episode. So, without further ado, here is Pierre Tsigaridis. Key TakeawaysHook the audience up front.Traumatika is a movie that goes for your throat at the jump. Not waiting to build up suspense or believability, this movie eventually goes to 11 but starts around 6 or 7. For newer and indie filmmakers you sometimes need to cater to the waning attention span of viewers by hooking them in the very beginning. You need to remember that you’re competing with a lot of other movies and if the viewer isn’t immediately hooked, sometimes they can move on. The implications of this may be unfortunate but doing this can make for a very impactful movie. So don’t ask permission to scare, just go for it. Foreign horror movies usually do this very well. Of course this depends on the type of movie you’re trying to make and sometimes you need a slow burn, but other times, you gotta just go for the jugular up front. There’s no limits to the amount of hats you can wear.Pierre wrote/produced/directed/shot/edited and even funded Traumatika. Doing this essentially makes him unstoppable as a filmmaker. His reasoning is practical: micro-budgets and fractured schedules mean you need to be able to pick up a camera and continue the movie even when people or days fall through. Being able to do all of this yourself simplifies scheduling, but can still be physically and mentally taxing, or as Pierre said, “the only thing that can stop me is my back.” Remember though, pain is temporary but cinema is forever. Light sets allow for dark explorations.Traumatika explores extremely dark subject matter, like REALLY DARK. Pierre was able to go there with his actors and get extremely gut-wrenching performances out of them because they trusted him and because he ran a supportive set. Pierre’s process included constant check-ins and letting actors shape choices. By setting up such an insulated and supportive set, the actors were actually able to go even deeper into the dark material as Pierre claimed that some of the most disturbing ideas were suggested by the actors. The big lesson: if you create a respectful and supportive environment and listen, actors will often take you further than you planned and they’ll feel ownership instead of pressure. Yes, we all know how Stanley Kubrick got the performance he did out of Shelly Duvall in The Shining, but despite how amazing that performance is, the method was abusive and should be forgotten. The real key to going super dark is creating a super safe space. Show NotesMovies and Shows MentionedTraumatikaThe Grudge (Japanese version)The Ring (Japanese and American versions referenced)ScreamHalloweenThe ExorcistEvil DeadNosferatuThe DescentThe Lord of the RingsCastle FreakPulse (also referenced by its original title Kairo)A Tale of Two SistersMulholland DriveLost HighwayInland EmpireTwin PeaksTwin Peaks: The ReturnManiac (1980)The Texas Chain Saw MassacreHenry: Portrait of a Serial Killer Follow Pierre Tsigaridis at:IMBd: https://www.imdb.com/name/nm8705238/Instagram: https://www.instagram.com/pierretsiga/X (Twitter): https://x.com/PTsigaridisFacebook: https://www.facebook.com/pierre.tsigaridis/

    1h 9m
  5. THE BLACK PHONE 2 Composer | Atticus Derrickson

    FEB 27

    THE BLACK PHONE 2 Composer | Atticus Derrickson

    Atticus Derrickson is a composer and music producer who recently scored The Black Phone 2. He is also the son of Scott Derrickson, director of both Black Phone movies, Sinister, and many others. In this conversation, Atticus and I get into composing horror scores, how to achieve fear through sound design, and much much more. Show NotesMovies and TV Mentioned The Black Phone 2The Black PhoneSinisterV/H/S 85SmileThe WitchThe LighthouseShadow Crawler (Short) People & Artists Mentioned Christopher YoungTangerine DreamVangelisCliff MartinezMark Korven (including his “Apprehension Engine”)Throbbing GristleChris Carter (Throbbing Gristle member referenced in gear discussion)Ulver (band whose music is used in the Sinister tapes discussion)Scott DerricksonJoe HillAdam HendricksLou Ford (editor)Luciano (sound designer)Marina Moore (string player)Robert Eggers Gear and Music Tech Mentioned Prophet synthesizer, including Prophet-5 and Prophet-10John Carpenter style synthCrystallizer pedal recreation from Dirt Monger InstrumentsLogic Pro XCanter reel (used to create drone textures)Dulcimer (used in experimentation)Atmos and surround mixing formats, including 5.1 Physical Media Waxwork Records vinyl release for The Black Phone 2 soundtrack Key TakeawaysStart early and let tone guide the whole production. Atticus began writing tonal score pieces before the script was even finished. That let production carry his music into the shoot, so the score could help dictate direction. A lot of those early pieces ended up in the final film because they already lived inside the world of the story—and inside the director’s head. This is why Atticus recommends avoiding temp tracks: they can be a trap, tying you to a specific (often derivative) sound instead of pushing you toward something new. Working this far upstream also allows for a more holistic approach to scoring the film. The tone and feeling of Black Phone 2 is one of the things that made it so distinctive, and a big reason is that the score was completely original rather than shaped by temp music. Merge score and sound design for unified texture. Atticus describes a constant collaboration with the sound designer and mixer so elements like static, wind, and snowy ambience could interlock with the music instead of competing with it. The goal was one cohesive system—where sound design and score feel like the same organism. As a result, the movie has a very strong sense of surrealism that makes you feel like you’re in a very beautiful nightmare. Protect what’s working. Atticus told a story about a final music cue that had to be shortened to fit the edit. When he tried to cut it down, he realized it damaged the overall effect, so he fought to keep the full cue intact—and won. As a result, the scene works beautifully. Whether it’s a music cue or any other element, sometimes something is perfect as-is and it’s the surrounding pieces that need to be reshaped to support it. When something is working, protect it. Follow Atticus Derrickson at:IMBd: https://www.imdb.com/name/nm12279894/Instagram: https://www.instagram.com/atticusderricksonSpotify: https://open.spotify.com/artist/1ZAQG5e9sxTTkxKjr5OcLs?si=bT32GgkJTpKHqThqabqT1A

    55 min
  6. Horror Hangout | Whitney Moore

    FEB 24

    Horror Hangout | Whitney Moore

    Whitney Moore is an actress, writer, director, and lifelong horror fan whose work spans indie genre films, hosting, and original creative projects. Whitney is known for her sharp perspective on horror culture, including her time hosting Bloody Disgusting’s This Week in Horror. She has also appeared in films such as Birdemic: Shock and Terror, Satanic Panic, and most recently, Bennie Safdie’s The Smashing Machine. In this episode, Whitney and I geek out about all things horror, including our favorite gateway horror, what’s shocked each of us recently, and why body horror resonates as strongly as it does in today’s culture. On today’s episode of The Nick Taylor Horror Show, please give it up for Whitney Moore. Show NotesMovies MentionedThe Smashing MachineBring Her BackHenry: Portrait of a Serial KillerEvil Dead RiseThe MonkeyThe Blackcoat’s DaughterI Am the Pretty Thing That Lives in the HousePoltergeistChild’s PlayScream (franchise)It (new entry referenced via trailers)Five Nights at Freddy’sAre You Afraid of the Dark? (series)Who Framed Roger RabbitThe GooniesThe Addams Family (animated films referenced)Hotel Transylvania (franchise referenced)ZootopiaFallout (series)Twin Peaks (series)Lost HighwayHumanist Vampire Seeking Consenting Suicidal PersonThe Ugly Stepsister28 Years LaterBone TempleMay (2002)ValentineHeart EyesNatural Born KillersReady or NotAbigailM3GANM3GAN 2.0Drag Me to HellSend HelpPrimateChimp Crazy (docuseries)Tiger King (docuseries)The Cove (documentary)Flipper (referenced via dolphin trainer context)JawsPlan 9 from Outer Space Books and ResourcesCarl Jung and “shadow work” (discussed as a framework for horror and self-understanding)David Lynch book on Transcendental Meditation Follow Whitney Moore at:Website: https://www.gimmemoore.com/What’sGood, Whitney’s newsletter: https://www.gimmemoore.com/joinIMBd: https://www.imdb.com/name/nm3179972/Instagram: https://www.instagram.com/whitneysmoore/X (Twitter): https://x.com/tweetneymooreFacebook: https://www.facebook.com/mooreofwhitney/

    1 hr
  7. NO ME SIGAS | Directors Eduardo Lecuona & Ximena García Lecuona

    FEB 20

    NO ME SIGAS | Directors Eduardo Lecuona & Ximena García Lecuona

    Eduardo Lecuona and Ximena García Lecuona are the writer/director duo behind the Blumhouse found footage/narrative hybrid film No Me Sigas, which translates to Do Not Follow Me. No Me Sigas is Blumhouse's first original Spanish-language horror film, a Mexican supernatural thriller that follows Carla, an aspiring influencer, who fakes hauntings in her apartment for viral fame, only to accidentally summon a real malevolent entity that blurs the line between staged content and genuine terror. The film blends narrative filmmaking with a found footage–style mixed media approach, including social media footage, security cams, and iPhone footage, among more. No Me Sigas is now streaming exclusively on Hulu. In this episode, Eduardo and Ximena talk about their approach to analog horror and modern found footage, as well as their extensive and fascinating process for paranormal research, which included attending live witchcraft rituals. On today’s episode of The Nick Taylor Horror Show, here, without further ado, are Eduardo Lecuona and Ximena García Lecuona. Key TakeawaysResearch isn’t just facts—it’s proximity.Ximena didn’t just watch videos and read books about the paranormal. She went to rituals, talked with real witches, met shamans, and witnessed a ceremony involving a possessed doll. That lived exposure helped her build lore with details that feel internalized instead of invented. When your film touches a subculture or belief system, respectful proximity (conversations, observation, participation when appropriate) often yields better story texture than Wikipedia. Scares are designed three times: pre-pro, production, and post.The team literally named their scares in the shot list (“closet scare,” “phone scare”), and on set they gave those moments extra priority and extra time. But in the edit, they realized everything could change, as sound and music can entirely reshape how a scare lands. As a horror filmmaker, scares are one of the most important elements to get right, so you should take extra care to plan them out as thoroughly as possible. In matters of the occult, set culture matters.The filmmakers both come from spiritual families and, as a result, did lengthy protection rituals before shooting in famously haunted buildings in Mexico City. Regardless of anyone’s personal beliefs, this kind of practice can unify a crew psychologically by reinforcing the idea that “we’re protected, we’re intentional, we’re respectful.” Spirituality and the supernatural can be highly charged subject matter, and crew members will likely have a mixture of beliefs. It’s important to establish rituals of care—spiritual, practical, or both—whether denominational or not. Managing spiritual morale can be just as important as managing physical well-being. Show NotesMovies and Shows MentionedParanormal Caught on CameraThe Texas Chain Saw MassacreThe Blair Witch ProjectParanormal ActivityCannibal HolocaustMan Finds TapeDream EaterShelby OaksAnnabelleChuckyThe ConjuringNinja ScrollPaprikaAkiraPerfect BlueGrave of the FirefliesMexican influencer Carlos Na, referenced as a real-world inspiration point for paranormal faking Follow Eduardo Lecuona at:IMBd: https://www.imdb.com/name/nm5280326/Instagram: https://www.instagram.com/pollolec/ Follow Ximena García Lecuona at:IMBd: https://www.imdb.com/name/nm8581206/Instagram: https://instagram.com/ximenena_/X (Twitter): https://x.com/xime_lecuona

    26 min
  8. MISDIRECTION’S Kevin Lewis & Oliver Trevena

    FEB 13

    MISDIRECTION’S Kevin Lewis & Oliver Trevena

    Kevin Lewis and Oliver Trevena are the director and producer duo behind Misdirection, a contained neo noir thriller with Frank Grillo that builds a surprisingly big world inside a single location. Misdirection follows a couple driven to carry out a series of high-end heists to pay off a dangerous mob debt. When their latest break-in spirals out of control, the pair find themselves caught in a web of secrets, deception, and deadly consequences. Misdirection is now available on Digital from Cineverse. Shot in Serbia over fifteen nights on a small budget, the film is a case study in fast prep, actor focused directing, and the kind of persistence it takes to pull an indie feature across the finish line. Here, without further ado, are Kevin Lewis and Oliver Trevena. Key TakeawaysRelentlessness is a producing skill, not a personality trait. Misdirection went through consistent bouts of turbulence. Funding gaps, broken promises, Murphy’s Law persisted all the way up to roughly five days before shooting. Oliver was told by multiple people to forget about the project and let it go, but he didn’t. The takeaway is that persistence isn’t just motivational jargon, it’s a core production competency. If the producer stops pushing, the movie collapses. Misdirection took years to get off the ground, and the film only exists because Oliver and Kevin refused to let it die. Many people think movies are bought and sold based on the market itself, but that’s not always the case. Sometimes beating a movie into production through sheer will and force is the only path forward. Speed unlocks instinct. Shooting in fifteen nights removed hesitation. With no time to overthink, decisions became intuitive and committed. That urgency created momentum and helped performances and directorial choices feel alive rather than labored. It’s always ideal to have more time, but there’s creativity in limitations, and some casts and crews work better under pressure. Prep is freedom: obsess early so you can adapt fast later. Thrillers demand airtight logic. Kevin mapped character movement, information reveals, and physical continuity in advance so nothing unraveled under pressure. Thorough prep made the fast pace possible. Kevin calls himself a “big prepper”—months of notes, multiple contingency plans (A/B/C/D), then recalibrating once they were on set. He also describes basically hermitting in his hotel room instead of socializing because every hour on set equals money. The lesson isn’t to “be rigid”—it’s the opposite: deep prep lets you pivot without breaking story logic when the location or constraints change. As Churchill said, plans can be useless but the act of planning can be priceless. Show NotesMovies and Projects MentionedMisdirectionParadox EffectJohn WickWick Is Pain (John Wick documentary)Who’s Afraid of Virginia Woolf?DriveWerewolves Follow Kevin Lewis at:IMBd: https://www.imdb.com/name/nm0507425/Instagram: https://www.instagram.com/kevinlewisofficial Follow Oliver Trevena at:IMBd: https://www.imdb.com/name/nm3165541/Instagram: https://www.instagram.com/olivertrevena/Website: ollywoodmedia.com

    49 min
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About

Exploring the techniques, strategies, and key pieces of advice for aspiring horror directors, straight from the minds of some of the greatest filmmakers and creators in horror. Host Nick Taylor engages in one-on-one conversations with directors, producers, writers, actors and artists to uncover the keys to their creative and professional success in the horror business.

Information

  • Creator
    American Nightmare Studios
  • Years Active
    2018 - 2026
  • Episodes
    173
  • Rating
    Explicit
  • Copyright
    © 2024 by American Nightmare Studios. All rights reserved.
  • Show Website
    The Nick Taylor Horror Show

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