Was that your process with Lisa from Rent-A-Pal? 

Yes, with Lisa, I volunteered with a Senior Citizen and helped her learn the technical side of things like her computer and phone. I had never done that before and it was so helpful to bring that sense of compassion and softness to Lisa, even raising the lilt of my voice to exude more patience. It was incredibly enriching to my own life. I also made my own dating tape to realize the level of vulnerability that takes.

​
What helps that process flow more easily for you? 

Meditation and mindfulness have been wonderful for me, and it really helps me clear my mind and let things rock and flow into what I really need to focus on. 


Is there anything you drew from the mindfulness aspect or personal events for the role? 

I get asked a lot about how I was able to react to Brian’s character in the film and really it was about drawing upon my past and the difficult and damaging and tumultuous relationships I’d had in the past and my trauma reactivity. Your mind and your body just goes to this place. The place of where you’re willing to do anything and deal with anything just to be accepted and loved and its tragic but it was where my mind went at the time. 


That was something that I identified with and with other women I’ve spoken with, you were so willing to be available and willing to make concessions. I think we tend to do that more, bend when we know we shouldn’t. Thank you so much for being so honest about your process with this.

Of course, I think it’s really important to recognize and process through those places. But I’m really happy with what I was able to accomplish with Lisa, I’m very proud and I’ve gotten some wonderful reviews so I’m very happy.

This week we have the honor of jumping into our "talent to watch" section with Ariel Relaford. She's a screenwriter who puts her dreams on paper and utilizes a unique method to help her with writer's block.  

What was your first introduction to horror? 
​
My first introduction to horror was watching Child's Play (1988) when I was seven or eight. Instead of being afraid, I was intrigued! After the movie, I begged Mom to get me a Chucky doll, thinking it would come to life and be my best friend. Being little, I kind of forgot about the whole killing people bit...
 
Haha yeah, that part is kind of important to remember. How did you get started in the industry? 

I've been part of the film and entertainment industry on and off since I was a teenager. I have a handful of friends who are directors and screenwriters, and I guess their creativity rubbed off on me. I wrote my first screenplay about two years ago and I fell in love with it!
 
That is great! I think learning different areas of the industry only makes you an important resource in filmmaking. What keeps you interested in the genre?

Horror is something that never gets old for me. There's always a new idea or story that comes from everyday life, which I love about it!
 
I think writing in the everyday life horrors is some of the scariest stuff. What is it about screenwriting that you enjoy?

The excitement and challenge of creating something from thin air. Whether you have only one idea, character, or location in mind, you can create an entire film or TV series just from that if you can find the dedication to keep writing until you reach FADE OUT.

HorrOrigins host Mo Moshaty and Dread Central Editor in Chief & host Josh Millican host the creators of IFC Midnight's co-writer & director Natalie Erika James and co-writer Christian White in our recorded LIVE Q&A. ​

Check out our Shirley book & film review by HorrOrigins host Patricia Rohrs. 

You can purchase Shirley A Novel ​here.

Follow Susan Scarf Merrell on Facebook.

HorrOrigins chats with Divide/Conquer co-founder & producers Adam Hendricks and Greg Gilreath earlier in the summer. 

Check out our interview with the producers of Cam, Lucky and Black Christmas. 

Due to some technical issues during this interview, you'll see we were cut off but Adam and Greg still continued to give some valuable advice. 

We have enjoyed interviewing the screenwriters and filmmakers of future Hollywood entertainment in our "Talent to Watch" series. We've found that the advice from everyone has been very influential and valuable to our readers. We're excited to share our next guests. Meet Lorian Gish and Justin Knoepfel. From the get-go you get the vibe that these two work really well together. You'd hope so as they are partners who not only write together, but they co-direct. Something that we all know, can be no easy task. Check out this interview and see for yourself.

What was each of yours first introduction to horror? 
​
LG: I was terrified of horror films when I was younger. I was very sensitive, so they’d hit me hard. As I aged, I identified with the final girl in slasher films and really dived into the psyche of those characters.

JK: As a young kid, I was introduced to a lot of documentary miniseries’ like Bravo’s 100 Scariest Movie Moments and marathons like AMC’s Fear Fest that ran every October. It was a great gateway to titles and images that I’m still discovering, even today. This led to my own exploration of the genre through recalling many of those moments I saw at a young age. ​

Lorian, do you have a favorite final girl or slasher? 

LG: Laurie Strode in the original Halloween (1978) was a more cinematic version of myself at the time I first saw it. I, too, was in a small town high school, consumed by my studies, and babysat for extra money. I also really appreciated her character because there was nothing truly ‘extraordinary’ about her - she was an absolutely normal girl that survived on instinct and mostly luck.

Justin, those are some great memories. Which moment from Bravo’s 100 or title left the biggest impact on your filmmaking career?

JK: More than a specific title or moment, I think hearing what filmmakers had to say about the scenes they ranked had a large impact on how I view and interpret horror films. They spoke about them in such a way that I was not only entertained by their commentary, but also learned why the moment chosen was effective and scary. It was essentially a play by play on what makes a horror film work and it had a priceless impact on me. I still watch it every year, it’s very nostalgic for me and reaffirms what I’ve learned since I first saw it. 

How did you both get started in the industry? 

LG: I booked my first acting job as in Sam Mendes’ Revolutionary Road, and then I started not only auditioning but also creating my own films with my father (who soon after became a steadicam operator) and friends. I started working professional PA and 2nd AC jobs as early as 10 years old, and from there, I haven’t wanted to ever stop being in the industry.

JK: So far, I’ve basically maneuvered my way through the industry by being highly independent and seeking out opportunities, creating content, and finding chances to learn and have experiences working on projects, and constantly being open to new doors. There’s only so much film school can teach, and I firmly believe in the independent spirit of seeking out practical experience both creatively and professionally.   ​

LG: ​Haha. Sure.​

What is it about screenwriting and directing that you both enjoy?

LG: I prefer to tell stories that both exorcise my anxiety within the confines of my imagination and then play within that more nasty mental space alongside a cast and crew who make the process nothing but enjoyable and positive.

JK: I love the process of imagining something, to seeing it come to life. Being able to come up with scenes, characters, or beats and having them tangibly presented in front of you, and shepherding them with the team you’re working with is a beautiful experience. 

Screenwriting can be a difficult task which takes a lot of focus and commitment. What does that process look like for the both of you?

LG: I like to be in a busy setting and, without any judgement, allow my mind to wander to different people and things who pass. The littlest thing can help inspire me, and it helps me not feel as alone or lost in that story.

JK: I try to place myself in the mood or tone of what I’m working with, whether it’s the environment I’m working in, or the music I’m listening to, if it relates to the story I’m drafting, it puts me in the headspace to live in the world I’m trying to create. I’m very much a vibe setter, if I feel the vibe and I feel it’s working and supporting my creative strokes, it’s a walk in the park from there.

That is interesting hearing the differences in your processes for screenwriting. As directors what does your process look like when working on a project?

LG: Allowing ourselves to be open to change. It’s all about seeing what choices we’ve been given and then finding a creative way to solve the puzzle to tell the version of the story we want. 

JK: Lorian nails it, we essentially operate like a huddling football team. We always have a set game plan but  come prepared with a Plan B, and open to discussing a Plan C if necessary. On top of that, Lorian focuses heavily on the actors and their needs, while I work alongside the crew, director of photography, gaffer, AC’s etc, but we interchange where we are needed most effectively depending on the scene and what it requires. 

Being open-minded to change is important. I think especially in situations like yours where you’re co-directors and there could essentially be butting of the heads but it sounds like you both work really well together.  Justin, you mention that you both have your main roles but how do you handle any creative disagreements, if any, during screenwriting and directing? Is it something simple like rock, paper, scissors or what is the exact process?
​
JK: We have discussions into the “why” of a certain decision. Essentially, “why” the choice may work or may not work, and if there’s a middle ground we certainly meld our two ways of interpretation into something unified that feels right and comfortable with both of our voices. 

I think that type of collaboration and willingness to compromise is important in team atmospheres. Do you have any advice/suggestions for up and coming or hopeful screenwriters, directors? 
​
LG: Don’t demand anything from your creativity - not a paycheck, not a masterpiece. Allow it to be free and fill you up in thoughtful ways that you may have not originally expected.

JK: I think the best form of advice to any artist is to remind them that everyone’s journeys and processes are different, and there’s not one singular way of looking at it. Being a creative tends to come with a lot of anxieties, and internalized fears, but everyone is trying to figure it out, and no one is alone in that. Just keep making art!

That is great advice. It is one reason why I started doing these interviews.  It is to show people that we all have different paths which inspire others. You are also producers. What does your role as producers typically entail?
 
LG: We are strict with the homework we set for ourselves in pre-production and keep to our schedule to make sure our team is on the same page. From there, it’s about mutual respect and kindness when you want to get people to want to work on something with you.

JK: Lorian put it beautifully, we focus heavily on the pre-production process and making sure we are as organized and prepared as much as possible, not just for ourselves but for our cast & crew. Simply being prepared as a producer lets everyone on set feel comfortable. 
 
I agree, organization can make things easier or harder in all stages of filmmaking. Since you have that aspect covered, what are some of the most challenging things you typically have to face as screenwriters, directors and producers?

LG: This business is so difficult because as soon as someone has success on a project, they have to keep proving that they are capable of doing their job with each subsequent project. 

JK: In our case when we’re often operating under all three roles, being able to juggle the creative decisions of directing the cast/crew, and also maintaining order/care of everyone involved and keeping the ship afloat is a tough, but invigorating challenge, it leaves us ample opportunity for growth, and to applies lessons from previous projects into the current one. 
 
Can you tell us more about your feature projects?
​
LG: My most recent feature deconstructs the romantic comedy story formula and seeks to highlight the horror and absurdity within accepting that as the norm. It’s a slow-burn horror/sci-fi that dives into the tangible fear of womanhood set in a futurist society.

JK: I’ve been in the outlining and juggling ideas phase for a feature centered around a sacrificial cult, operating under the guise of a self-help rehabilitation group therapy organization, along with a concept Lorian and I have been developing about a hospice caregiver whose assigned to a dying old man, who claims to be the physical embodiment of the Devil, seeking a new host before his current host body passes. We’re actively in “ideas bootcamp” and undergoing redrafts, the quarantine period has given much space for exploration of those stories. 

Lorian, that is interesting. What films would you compare it to? 
​
LG: I was inspired by Eraserhead (1977), Rosemary’s Baby (1968), 4 Months, 3 Weeks And 2 Days (2007), and Jeanne Dielman 23, quai du Commerce 1080 Bruxelles (1975) for their alternative storytelling style, subject matter, and gaze towards women suffering on film based on something affiliated with their gender.

Those are some interesting concepts that I would love to see on the big screen. Speaking of quarantine, how has this time differed from writing in the pre-COVID world?

LG: For the vast majority of the time in the “current COVID world,” I’ve honestly found it more difficult to write. Not for lack of trying, but it’s important for creatives to know that it’s okay to not feel totally entranced by the act of creating during what is, one of the most difficult and harrowing periods in our lifetimes. I have spent many hours criticizing myself for “not finishing that feature, or three” but considering what the current state of the country and world is, I realize that mentality is not only unhealthy, but it affects the work. Inspiration shouldn’t be forced, and taking care of yourself is of high priority.

What other projects are you currently working on?

LG: I’m writing the aforementioned horror/sci-fi feature script, a middle-grade fantasy novel about a young girl getting lost in the woods with her mother, and (coming up the soonest) I’m writing and directing a zoom-specific thriller/comedy about couples isolated in quarantine scheduled to premiere in mid-July.
 
JK: Quarantine has given some time to go back to some short screenplays that haven’t been made yet, and craft new ideas or concepts for projects, but we aren’t yet finished with the life-span of our current project, so once that’s ready to “leave the nest”, the focus will shift into developing and producing new exciting and interesting ideas! 

What has been your favorite project to work on and why?

LG: My favorite project has been our most recent short, The Howling Wind. It was one of those pieces that felt like it was going to matter from its conception. We also allowed ourselves to roll with all of the stereotypical pit-falls to happen on set and figured out a way to make them work for ourselves.

JK: Our short The Howling Wind that we just completed was definitely a big step for us in terms of the overall process, and how the resulting film turned out. Personally, I loved making something with such a distinct vision of the world we were exploring and collaborating with everyone who believed it was just as cool as we thought it was! The trailer was actually premiered on Dread Central!

You both know how to pick them don’t you!?! Those are all great films with special places in my heart as well. What movies & filmmakers give you the most inspiration? 
​
LG: Lynne Ramsay for the themes she quietly touches upon that end up deeply affecting her audiences, Brit Marling for her sheer drive in telling so interesting stories as both a creator and actor, Greta Gerwig for how she speaks to her actors and her keen eye on detail - as if she’s choreographing a dance, Trey Edward Shults for his breaking of cinematic ‘rules’ like changing aspect ratios when the story warrants it, and Dario Argento for making each one of his frames a painting.

JK: John Carpenter’s eclectic filmography is constantly inspiring on all levels of the craft, and I’m ever inspired by what Jennifer Kent and Robert Eggers have been exploring in their films, and of course, always Sam Raimi for inspiring a whole generation of filmmakers to make movies with the right mind and resources!
​
The explanation from both of you is amazing. I love how thorough you both are with explaining your inspirations.  Can you share something in everyday life that scares you? 

LG: Honestly, seeing the overall lack of humanity towards all kinds of people, especially the most recent injustices in the current socio-political climate.

JK: I concur with Lorian. Especially now, it seems like everyone’s forgotten what it’s like to be a human being. Lack of humanity as Lorian put it is exactly what filmmakers explore in horror, and there’s certainly a reason for that. 

Again, great responses. It is something I think about everyday how people have little respect for each other. Being a father, that definitely scares me. What is your dream project? 

LG: My dream project is my aforementioned feature script. I believe it can add a lot to the sub-genre and highlight malpractices in our world. It also helped me figure out a lot about myself, and I’d love to put those thoughts into a piece that I can always look back on. 

JK: Before Blumhouse and David Gordon Green got to it, for the longest time a pipe-dream would have been to continue the story of Michael Myers. I have a vivid scene in my head of Myers stalking a group of main characters in a costume store or factory, while throwing in some Season of the Witch nods in there! 

Lorian, glad to hear yours is something that is very personal to you. I hope to be able to see it. Justin, I would be there right next to you. Michael Myers has been an all-time favorite.  Since Blumhouse got to it first, do you have anything else you’d like to mention?

JK: I would kill to re-envision the cult classic 1981 TV movie Dark Night of the Scarecrow, not only is it one of the all time best horror film titles, but I believe it can be recontextualized and still maintain the subtle eeriness of the original story. In addition to adding more scarecrows to the horror lexicon! If you haven’t seen it, seek it out, it's certainly a deep cut!

Thank you both so much for your time and interview. Would you be interested in sharing your social media pages and websites with our audience?
Of course! Thank YOU for talking with us, fantastic questions. 
 
LG: Sure. Check out my website and you can follow me on Instagram.
​
JK: You can also check out my website and follow me on Instagram.
We also have our THE HOWLING WIND Instagram page that you can follow as well.
​

This week, we chat with Exit 44 Entertainment filmmakers Eric Brodeur and Ty Leisher. We discuss how they began their careers working in Hollywood, the start of Exit 44 Entertainment, the difference between making horror independently versus studio work, the creepy motivation behind their upcoming feature film 11th Hour Cleaning and their love for films. 

What was each of yours first introduction to horror?   

Ty: My introduction to horror as a kid was R.L. Stein's Goosebumps series of books. I would devour those and the Scary Stories to Tell In The Dark books almost every night. As I got older, there was an old Nickelodeon show called Are You Afraid of the Dark, which was quite scary and "adult" for a pre-teen. My father was always reading Stephen King and he would pass them down to me when he was finished, so I got to read Pet Semetary, It, and other King classics early on. 

My first foray into horror cinema was 1999's The Haunting, which is kind of campy now looking back but terrified me as a kid. It was only a PG-13 rating, so my parents let me see it. I was hooked. Later I would watch Scream, and I Know What You Did Last Summer when they were on HBO or something. I always preferred the Goosebumps supernatural to the slasher of Scream.  

Eric: I can't recall the first horror film I watched but, growing up in the 80’s, I saw the classics the first time around A Nightmare on Elm Street, The Howling, American Werewolf in London, The Thing, Demons, Hellraiser and so many other titles that I don't recall.  

After work, my buddy and I would grab some food and a six-pack of beer, rent a few horror films from the local video store, and watch them until the early hours of the next morning. We rented so many that my friend's nickname in the video store's computer system was "horror freak." He wasn't pleased.  

You both have a great taste in horror and both different ways of being introduced to horror which is cool. I don’t see an issue with being called "horror freak."  So tell me How did you both get started in the industry?  

Ty: My path is more like a squiggly maze-like line than a direct route. I started as a production assistant for one of the first daily video game shows to stream online called Epileptic Gaming. After the company that funded them went bankrupt, I bounced around until I landed a job as a production assistant on The Office. I worked on a few MTV pilots, a High School Musical reality show, and a few other films. I always wanted to write and direct, and I thought editorial might be a good way in for me. I got a job working as a logger and assistant editor on The Amazing Race for nine seasons. In 2017, they went on hiatus, and I wanted to learn how distribution worked, so I reached out to an independent distribution company named Gravitas Ventures. They offered me an internship. Three months later, my wife and I found out we were expecting our first child, so I needed something more stable with health insurance. Gravitas Ventures offered me a role in sales and filmmaker relations. I spent three and a half years with Gravitas before our first feature, 11th Hour Cleaning, was made. 

While working whatever job I could find to keep living, I worked on my own projects, including a poker-crime web series titled Bullets based on my time playing, or losing, I should say in online poker. It was released in 2012 on JTS.tv, a now-defunct online streaming site dedicated to web series and is still available online for free.   

Eric: I was already living in Los Angeles and made a career change from the Information Technology industry into film. It took some time to figure out how I wanted to satisfy my creative desires and utilize my existing skills. With the help of career coach Janet Conn, whose late husband is editor Norman Hollyn, I decided to become a picture editor. I told everyone I knew that I was looking for a trainee position (i.e., free help), and a friend responded back with a job lead. It became my first gig which was essentially "film school" and from there, I did what everyone tells you to do: meet people, network.  

This led to two gigs, which led to two other gigs, which became a major turning point. I was editor on Filly Brown, and assistant editor on The Sessions. Both went to the Sundance Film Festival in the same year. These small successes landed me a job working on commercials and ultimately meeting editors and directors, which got me into studio features.  

Those are very inspiring! And two features in Sundance at once? Congrat! That is not common. I think it is important for our audience to note that everyone has different paths, especially in this industry. What keeps you guys interested in the genre?   

Ty: Horror allows us to explore themes and bring to light issues that we believe are important while scaring the shit out of people. You can take something you care about and through, I guess you could call it monster-ification of that issue, you can create a scary film that also carries a message. For example, the titular Babadook monster representing postpartum depression, or the demon of It Follows representing the importance of safe sex and the loss of innocence at the same time. I love allegories and exploring ways of scaring people into making them think twice about things in this world.  

Eric: I enjoy the thrill of the unknown, being scared, and the build-up of tension which releases with the exclamation of "oh shit!" I prefer being creeped out, such as the clothes dryer scene in Identity when you think, "is that what I think it is rolling around inside?" But there are films like High Tension (unrated cut) which are sadistic and gruesome yet have strong stories and border on art.  
As for writing horror, there is always another story to be told or told in a new way. I think about creative ways of scaring people, whether it's gruesome or implied, a creepy character or event, etc. Horror has the unique ability to co-mingle with every other genre, which makes it limitless.  ​​

What is your dream project?   
Ed: I think less about a "dream project" and more about a "dream career." A career where I can make films on a consistent basis, with sufficient resources, and work alongside a crew and cast I admire.  

Ty: I'm with Eric. I think more about having a dream career where I can make films that entertain and enlighten people to issues or themes that I care about. There are a few existing properties that I'd love to get my hands into, like Spawn. Spawn is my favorite anti-hero, and there is so much we could do with that world of heaven and hell right now. I've been trying to get a 7th Guest movie made for years, based on the video game from the 90’s, but I doubt it'll happen with us. I'd also love to take a crack at the cosmic horror genre and explore the fear of the unknown, like HP Lovecraft's work, but something unique and new.  

Best of luck as you both continue your careers. Any parting words on the industry for our audience?  

Ty: This is a tough business, and you need to have thick skin and the tenacity to see it through. The one thing that everyone in this industry has in common is that they never gave up. You have to believe in yourself, believe in your stories, and trust that your voice and creative energy are worthwhile. Don't let anyone tell you that you can't make it or that it's never going to happen for you. Like I said above, I'm always trying to educate or share experiences with other aspiring writers/filmmakers.  

Eric: As Ty said, you need to keep at it. Don't let people discourage you from pursuing your dreams, but that doesn't mean you should ignore feedback. Don't compare yourself to everyone else and what they've achieved, but don't put your head in the sand either. Self-assessment and course correction is a critical component of success. 

Breaking into this business is not easy. Growing your career isn't easy. You're only as good as the last film you made, so learn from that experience and make it better next time around. 

You're going to need to make sacrifices, and these are different for everyone. If you have a mortgage, you may be less inclined to take the necessary risks in your career. You might not see your spouse or kids as much as you'd like. Divorce...a very real possibility. 

Whatever you want to do as a filmmaker – be passionate and stay focused. You need the passion because the sacrifices can be rough. Stay focused, so you become known as an expert in that craft before you move into something else. 

Thank you both for your time. If you have other social media, websites or anything you want to plug please share here.

If you have any questions, I'm all ears on Twitter @TyLeisher and Eric can be found at @EBrodeur.

Our YouTube channel at Exit 44 Entertainment. 

If you’d like to stay informed about our feature, 11th Hour Cleaning, take a moment and sign up for email updates here. ​

We've covered a lot of amazing screenwriters in our talent to watch series. This time, we sit down with a young filmmaker who discusses his inspirations to produce quality content. This is apparent with his quality of work for companies like Disney Parks, TEDx and other brands that he has been putting out since he turned 13 years old.

That is very exciting as a filmmaker. The opportunity to share an image that originated in your mind and place it on screen is a huge accomplishment. You're proving yourself to be able to make outstanding horror shorts. Can you give us an example of your initial idea with one of your films? 

For Kissed, it was the image of a water logged rotting corpse laying on a grimey silver platter, as a hand slowly enters frame carefully applying a deep red lipstick to her lips. Then I went with it from there figuring out what the story would be leading up to that and the events taking place after. Writing and directing can be a very long and tedious process. It can also be a very magical and rewarding experience at the end of the day. That is why I love it so much.

As a director what does your process look like when working on a project?

I like to oversee every aspect of a project I’m working on. Meaning I usually not only write and direct the project, but I also am the producer and production designer. This is so I can do everything I can to articulate and execute my vision. It all starts with an idea and writing the script. Then I go with it from there breaking down and marking up the script with notes for direction. I figure out what needs to be done logistically in order to make the film happen and design the look and feel of the film.

What are some of the most challenging things you typically have to face as a screenwriter, director and producer?

The most challenging thing for me is time management and trying to outdo myself with each film. Since I like to be in so many different roles, there is so much work to be done both on set and leading up to a shoot. It's a challenge, but I’m always up for it. 

​
​What other projects are you currently working on?

I recently finished up post-production on my newest short film The Rule Of Three, starring Hannah Barefoot from Shudder’s Creepshow series, which will be premiering on the festival circuit later this year. The short follows a woman haunted by her OCD and intrusive thoughts who must overcome herself and face her inner demons to survive the night in the event of a terrifying home invasion by three masked slashers. 

Congratulations!  It sounds like an amazing short with amazing talent. What has been your favorite project to work on and why?

Every short film I’ve made has been its own amazing experience. Shooting TRICK was so much fun because it really felt like it was Halloween for three days straight in the middle of March. My friends built a spectacular haunted house set all in their garage. My makeup fx team made these fantastic Ben Cooper vintage style masks for the trick or treaters, and we shot in a dark soundstage running around using a lit jack-o-lantern as our main source of light.

If I had to choose one, my favorite project that I’ve worked on would have to be Kissed. It was one of those rare experiences that everything seemed to fall into place perfectly and I loved shooting on the morgue set, it was awesome. That short is so special to me because it was the one that really formed the relationship with my extraordinary crew of friends that I work with now.

That is awesome. It sounds like the sets are a blast to be on. What are some other ways you are involved in the film community?

I’m really involved in the community, I love attending all the different horror conventions and events in Los Angeles! Aside from filmmaking, I do photography in horror themed art shows at The Mystic Museum. I also work closely with a number of small horror businesses all run by my friends like Little Shop Of Gore, Murder House Productions, and most recently Slashback Video, creating teasers and short films for them.