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The Nick Taylor Horror Show

Podcast 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 cre...

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  • THE DEAD THING Director, Elric Kane
    I’m very excited because today, we’re joined by Elric Kane—filmmaker, podcaster, household name in horror and one of the most knowledgeable voices in genre cinema. Elric is the co-host of the ‘Colors of the Dark’ Podcast which I listen to religiously as well as & The New Beverly Cinemas ‘Pure Cinema’ Podcast.Elric’s new feature ‘The Dead Thing’ launches on Shudder today! I got to see it at an advanced screening and I urge you to check it out on Shudder because it’s excellent and beautifully crafted.In today’s episode, Elric and I dive deep into the making of the Dead Thing including his innovative financing strategy, the challenges of directing an indie, the importance of casting, and navigating post-production hurdles. Please give it up for Elric Kane.Key TakeawaysBudget Wisely & Plan for Post & DeliverablesA common and generally positive ethic of filmmaking is to put every dollar on screen but many indie filmmakers make the mistake of spending their entire budget on the shoot, only to realize too late that post can be just as expensive and time-consuming. Elric stresses that without a proper plan for editing, sound design, color correction, and deliverables, filmmakers risk delaying their release or running out of money before the film is finished. Furthermore deliverables—like legal clearances, contracts, paperwork and permissions—can take months to finalize and often cost more than expected. Budget accordingly.Cast Well, Direct LessAccording to Elric, a director’s best tool is strong casting. No amount of great cinematography, effects, or editing can save a film thats been miscast. Elric emphasizes that the best performances come from actors who already embody the role, rather than ones who need to be excessively directed. The right actors make directing easier and more organic, allowing the filmmaker to focus on the bigger picture.Elric hired casting director and friend of the show, David Guglielmo, who not only found great actors but also helped with industry connections and even stepped into somewhat of a producer role. A strong cast carries the movie, and a good casting director can open doors you can’t and they are worth every penny.Consider Network FinancingInstead of relying on crowdfunding platforms or searching for a few large investors, Elric took a different approach—he asked multiple people in his network for smaller investments, typically in $5,000 increments. This approach helped him and his team raise nearly the entire budget in two months.His advice for anyone hesitant to ask for money is to start by asking the person you least want to ask. Once you’ve crossed that mental hurdle, every ask after that becomes easier. $5,000 investments can add up very quickly - and it’s not that you need to replicate this exact strategy but it’s important to think creatively about how to finance your movie.Be Relentless About What Matters MostFilmmaking requires a lot of sacrifices, but not all of them are created equal. Elric believes that certain scenes are non-negotiable because they define the essence of the film. Throughout the production of The Dead Thing, he had to fight to keep crucial moments in the film, even when time constraints forced other compromises. His philosophy is to figure out what the life force of the film itself is and make sure you get it in the can. Knowing what is essential and protecting it at all costs is what separates great directors from those who let production pressures dilute their film. Elric quoted the Cohen brothers who called the director the immune system of the...
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  • COMPANION Co-editor, Josh Ethier
    Josh Ethier is a film editor who has become a household name in horror. Josh is the editing force behind such films as: Contracted, Some Kind of Hate, We are Still Here, Mayhem, Leatherface, Bliss, VFW, Orphan First Kill, Christmas Bloody Christmas, The Seventh Day, Gretel and Hansel, Don’t Breathe and most recently Companion which he edited alongside Brett Bachman.In this episode, Josh gets into his career history, editing process, collaborations with filmmakers like Joe Begos and Osgood Perkins and the story behind the recently released Companion, which is one of my favorite horror movies in a long time. This is a really insightful conversation that I really enjoyed and think you will as well. Please welcome, Josh Ethier!Here are some key takeaways from this conversation with JoshLook for the Note Behind the NoteAudience feedback can be a double-edged sword—sometimes useful, sometimes misleading. Josh learned early on from Stuart Gordon (Re-Animator) that feedback isn’t about taking every note literally but understanding the note behind the note which requires deeper analysis.For instance, on Companion, early test screenings showed that one character was getting lower audience scores. Instead of softening the character, they leaned into the audience’s dislike and committed to it—embracing the audience’s reaction rather than trying to cater to feedback. As a result, the character actually scored higher in later tests.Editing is a “Four-Month Conversation” Between Director and EditorThe relationship between an editor and a director is one of the most intimate creative partnerships in filmmaking. Josh emphasizes that the strongest director-editor teams are built on genuine relationships, which is why socializing and getting to know each other outside of the work is just as important as the technical process.The best collaborations happen when an editor and director truly understand each other’s creative DNA—the movies that inspire them, their sense of humor, their artistic instincts, and how they think about storytelling. The editing room isn’t just where cuts are made; it’s where creative risks are taken, where directors feel safe enough to experiment, and where an editor helps guide them toward their best possible work.The more an editor and director understand each other, the better they can anticipate each other’s needs, develop a shorthand, challenge each other in the right ways, and ultimately make the movie stronger.Immerse Yourself in QualityJosh believes that editors—and all filmmakers—should obsessively watch and absorb great films. But instead of overanalyzing or attempting to reverse-engineer their greatness, the key is exposure. Some films are great because they have an innate rhythm, a unique DNA that can’t simply be replicated. Rather than trying to deconstruct and apply a formula, internalize their essence. Understand what great filmmaking feels like, so when it comes time to shape your own work, you instinctively recognize when something is working—and when it’s not. This is also a common piece of creative advice given by Rick Rubin, and I highly recommend his book The Creative Act.SHOW NOTESMovies DiscussedCompanion (2024)Almost Human (2013)Contracted (2013)Gretel & Hansel (2020)We Are Still Here (2015)First Blood (1982)Jaws (1975)Seven (1995)Looper (2012)Books & ResourcesIn the Blink of an Eye – Walter MurchThe Conversations: Walter Murch and the Art of Editing Film – Michael OndaatjeEasy Riders, Raging Bulls – Peter...
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  • WEREWOLVES Director, Steven C. Miller
    Today we’re joined by action-horror filmmaker Steven C. Miller to discuss his latest barn-burner of a movie, Werewolves. Werewolves is an unapologetically fun and hydraulic creature feature packed with practical effects, action, and a whole lot of Frank Grillo. Steven dives into his experiences directing Werewolves, his focus on practical effects and full creature suits crafted by Alec Gillis and Tom Woodruff Jr., and his collaboration with star Frank Grillo.Steven also shares his compelling origin story, which included living in his car in Los Angeles before going on to direct multiple action features and collaborating with legends like Bruce Willis, Nicolas Cage, and Sylvester Stallone. This episode was a real blast and is packed with advice and insights for all you horror filmmakers out there. I hope you enjoy this conversation with Steven C. Miller, director of Werewolves.Here are some key takeaways from this conversation with Steven C. MillerGet a rallyerOne of the standout perks Steven shared about working with Frank Grillo is that Frank is a natural rallyer on set. He possesses an authoritative and trusted presence that helps elevate the cast and crew, motivating them to back Steven’s decisions and rise to the challenges of production. Having someone like this on set is invaluable. On any film shoot, there will be moments when morale dips, fatigue sets in, or tensions arise. A rallyer—someone who can inspire and energize the team—can make all the difference.However, this kind of relationship hinges on trust. Frank Grillo has been on a lot of sets, worked with a lot of directors and has a pretty sharp bullshit detector. During Werewolves, Frank would ask Steven pointed questions, and because Steven always had solid answers, Frank trusted him. This mutual respect allowed Frank to step into a quarterback-like role on set, helping to unify and inspire the team. As a filmmaker, seek out cast members who possess this quality—but understand that it’s your responsibility to earn their trust and respect first.Keep it movingSteven’s action-oriented directorial style thrives on momentum. Anyone will tell you that filmmaking is largely waiting around, but Steven counters this with a fast-paced, dynamic approach. By minimizing downtime, he keeps actors engaged, energized, and ready to deliver their best, especially during action-heavy scenes. This efficiency comes from Steven’s deep understanding of set logistics, a skill he honed through hands-on experience in his early days. His ability to streamline production and avoid stagnation creates an environment where both creativity and productivity flourish. Filmmaker Robert Rodriguez has expressed similar ideas, highlighting that actors appreciate the pace, and it allows productions to run more smoothly and on schedule and budget.Say yesSteven has directed an impressive number of films, and if you look at his IMDB page, he seems to constantly be working. This is a testament to his “say yes to everything” philosophy. He believes that filmmakers should view every project as a learning opportunity, regardless of whether it’s a passion project. Rather than being overly selective, Steven advocates for gaining as much experience as possible by consistently working and completing projects. This mindset is especially important in an industry where opportunities are scarce. While some directors, like Quentin Tarantino, can afford to be hyper-selective about their filmography, Steven stresses that this is the exception, not the rule. For most filmmakers, success comes from viewing the craft as a career, where consistency and experience are key. By saying yes, Steven not only became a better and more reliable filmmaker but also built relationships and gained opportunities to work...
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  • DON’T MOVE Directors Brian Netto and Adam Schindler
    Today we’re joined by directing duo Adam Schindler and Brian Netto, the creative minds behind the new horror thriller Don’t Move. The guys share how they transformed the universal fear of immobility into a gripping narrative that they ultimately sold to Netflix and discuss what it was like shooting in the Bulgarian wilderness, working with legendary producer Sam Raimi, and how they developed a hauntingly charismatic serial killer played by Finn Wittrock, alongside a powerful and emotionally charged performance by lead actress Kelsey Asbille. Don’t Move is now streaming on Netflix.Here are some key takeaways from this conversation with Brian and Adam:Take Breaks.Early drafts of their script didn’t work—there was a disconnect between the concept of paralysis and the main character’s emotional journey. Rather than forcing a solution, they decided to put the project aside for a while and focus on other things. When they returned to the script with fresh perspectives, they were able to see the story’s missing elements more clearly and reapproach it with renewed energy.The takeaway here is don't be afraid to pause: when creativity stalls, putting your project down for a short period can provide the mental clarity and distance needed to spot problems and find solutions. Even if you're not directly working on a project, your brain will subconsciously work on a solution in the background. Patience leads to stronger work: Rushing to force solutions can lead to uninspired results. Instead, embrace the process and trust that time away can lead to breakthroughs.Write a Scalable Script.Brian and Adam intentionally crafted a story that could be produced at varying budget levels, making it adaptable for different production scenarios. This strategy proved invaluable when pitching the project. Whether it became a $1M indie film shot in a handful of locations or a larger studio-backed production with expanded scope, the story’s essence and emotional core remained intact and gave them the flexibility to pitch to a wide array of producers.They compared their approach to Beck and Woods who wrote A Quiet Place. When pitching A Quiet Place, Beck and Woods famously intended to shoot their high-concept horror story for $75,000 in their hometown if it didn’t sell. By ensuring their script could be executed with minimal resources, the Don’t Move team gave themselves the flexibility to proceed regardless of the budgetary constraints. For Don't Move, the scalability made the film an easier sell to partners, such as producer Sam Raimi and Netflix, while also leaving room for creative adjustments based on the final budget.Safety First.One of the most critical lessons the directors learned from Sam Raimi was the importance of prioritizing safety on set. Raimi repeatedly emphasized that it was their responsibility as directors to ensure the well-being of every cast and crew member, whether during stunt work or handling environmental hazards like shooting scenes on a 200-foot cliff or filming complex car stunts. No shot or sequence is worth compromising the safety of cast or crew, and it’s the directors’ job to uphold this standard at all times.This commitment to safety extended beyond stunts. Through their leadership, the directors fostered an environment where every crew member felt valued and secure, which in turn contributed to a more collaborative and focused set. By prioritizing safety, they set the tone for a productive and respectful creative process.Show NotesMovies Discussed:GravityThe Vanishing (1988)BarbarianSmileFollow Brian Netto at:IMBd:
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  • Today we’re joined by indie filmmaker and casting director David Guglielmo, who recently wrapped his latest film, Love Bomb. David shares his journey of directing a script written specifically for him by friend and screenwriter Kathy Charles. We explore the creative challenges of transforming an erotic thriller into a dark comedy with shades of Scorsese's After Hours, and how he crafted surreal, Lynchian tones to set the film apart.David also dives into the real-world setbacks he faced on set, from revoked permits to floods, and how quick thinking and flexibility helped keep the production afloat. With insights on casting, creating a cohesive tone, and making the most of ultra-low budgets, David gives us a masterclass on indie filmmaking survival. This is David’s second time on the show so if you want more of his origin story be sure and check out Episode 11.Here are some key takeaways from this conversation with David Guglielmo.Flexibility on Set is Crucial:David emphasized the importance of adaptability because he was forced to embody this to an extreme degree. When a neighbor caused their permit to be revoked, the production team had to pivot from a night shoot to a day shoot. Instead of panicking, David calmly rewrote scenes and embraced the changes, which ultimately added an interesting surreal vibe to the film. David has been on a lot of sets and faced a lot of setbacks, so his adaptability is very fluid—to the point where not only does he roll with the punches, but he also finds ways to make the setbacks work in his favor. This is like black belt-level directing. Best laid plans can come crashing down at any moment, which is why it’s critical to not only be resilient in the face of obstacles but to embrace them.Stay Tuned In:David noted that when directing, it’s important to remain tuned into the frequency of the project. This may sound metaphysical, but well-crafted movies have a specific frequency—whether you want to call it a tone, a spirit, or an energy, it’s foundational to the movie. As you go through the inevitable setbacks and sacrifices that come with filmmaking, it’s critical to remain tuned into that frequency because it can guide your decisions in favor of the movie. David also recommends making films that reflect your distinct sensibilities and experiences rather than chasing trends or formulas.Invest in Crew Happiness:Having made several ultra-low-budget films, when asked where filmmakers can afford to cut costs and where they should invest, David stresses that the well-being of the crew should never be compromised. A happy, motivated crew can make a significant difference in the film’s final outcome and your overall experience directing. The key to this is building a strong sense of camaraderie on set, which starts with transparency: letting the crew know exactly what they’re signing up for and setting realistic expectations from the jump. By doing so, you attract team members who are passionate about the project rather than just in it for the paycheck. David also believes in giving less experienced but talented crew members their first major opportunities, creating a collective enthusiasm and a willingness to go the extra mile.Show NotesMovies & InspirationsLove Bomb (David Guglielmo’s latest film)Castle Freak (remake, written by Kathy Charles)Jacob’s WifeAfter HoursGone GirlThe Hand That Rocks the CradleDressed to KillBlow OutBody DoubleDeath ProofIt FollowsUnder the Silver LakeBooksCatching the Big Fish by David...

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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.
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