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 Gish.
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.
Lorian, pic or it didn't happen.
LG: Haha. Sure.
Lorian Gish and Director Sam Mendes on the set of "Revolutionary Road."
That is amazing! I stand corrected, hold on one moment so I can put my foot in my mouth. What a great first acting job to be a part of. What was your role? As far as working with your father, what an experience! Congrats! That sounds like a young filmmaker's dream to get that hands on experience. What was the most memorable moment during that time working with your father?
LG: Thank you! I played ‘Young April,’ the older version of whom was Kate Winslet. One of the first jobs my father and I worked together, he was a DP on a web series, and their 2nd AC backed out last minute. I remember him offering me the job, explaining what was expected of me, showing me all of the necessary equipment, and then me getting really excited about storing all the dry-erase markers, gaff tape, and spike tape in my LimitedTOO cargo pants that I had just bought myself the week before. I was the most stylish Clapper/Scripty on that set - that’s for sure. I then remember arriving on set and catching looks from the adults when they saw a 12 year old on crew. That fueled my fire and made me want to prove to everyone that not only was I, the most professional member of that set, but also was the glue that filled in all of the gaps by doing whatever, whenever it was needed. I’m pretty sure the production didn’t end up crediting me because of my age, but I remember my dad telling me after we wrapped that my attitude on set made those shoot days the quickest and easiest days of the series. And, naturally, my love for being on crew blossomed. 
Justin Knoepfel
Justin, that is great. Basically how I maneuvered myself around as well. What do you think is the most important characteristic with being highly independent in this industry?
JK: From my experiences, it’s been a matter of communication. I find myself emailing, and contacting publications for press release inquiries or seeking opportunities for growth in content exposure, and most of the time people are highly receptive. Being independent means you are your biggest supporter and without the proper communication and confidence to put yourself out there, you won’t be able to fill up the stadium! How did you both meet and start to collaborate together? LG: We met through a mutual friend. I found out through a text introduction that we were both interested in film. I had just moved to a new area of Manhattan and I was looking for new friends, so we decided to grab lunch and meet in person (at a place that no longer exists, in true Manhattan real estate fashion). We talked about the industry and shared our passions. When I asked his major in university, he said he was in advertising because that was ‘safe.’ I questioned if that was truly what he wanted to do or if he wanted to find a career in film like I had decided to do already. From that conversation, we started coaching each other through our respective journeys whenever we felt lost and sharing our styles and opinions. Eventually, we became colleagues who trusted each other’s artistry, work ethic, and ambition, finding a compatible partnership. Why do you feel like networking and collaborating is important? JK: I think networking is highly important because you need to meet and know your peers! Everyone can learn from each other, with how they approach their art, or how they do other things. Not just on a professional level either, people I've contacted in an effort to network and learn from have become great friends! We succeed, and suffer in the same field of thought, and it's good to not only have a group of peers to look up to, but learn from, and work alongside. That is true. A network is something that screenwriters and filmmakers can utilize to better their craft. Tell me, what keeps you guys interested in the genre? LG: I love how the genre always seems to be the perfect vehicle for inciting change and articulating social commentary about the most vile parts of humanity. JK: Exploring different concepts and styles is definitely a high motivator and I think horror is the genre that never has a shortage of exploration, whether it’s something fresh and new or a different take on something previously touched upon. Everyone working in the horror genre has something up their sleeve that uniquely reflects themselves as an artist, and that never becomes stale. Social commentary is an important topic. Directors like Jordan Peele have been able to use their creative abilities to address topics like racism. Exploring the concepts is definitely one of the fun things for me with horror. What are some things that are important for you both in regards to social commentary that should be addressed? LG: It’s awesome that you mention Jordan Peele because he is definitely an artist in the genre to look up to. During one of his talk-backs after Get Out (2017), he spoke about how one of horror’s greatest strengths comes from the audience’s ability to experience and confront danger on their own terms in a controlled environment. That ideology is important while tackling topics that I gravitate towards such as the vulnerabilities of womxn and the modernization of a real ‘body-horror’: being objectified and ruled by others based on gender identity. Many people find the topic uncomfortable to talk about, making those stories very effective in the genre and medium. JK: Horror has always lent itself to examination of social topics, whether it's the civil rights conflict in the 60’s, or class divide in the 80’s, and beyond. Unfortunately, I don’t think any of those issues have gone away in any capacity. We mention Jordan Peele because he’s essentially making contemporary horror that critiques the same social conflicts of the 60’s such as racism and social division etc. A lot of people in this country (ignorantly so) see that as having passed. None of it has. We are still dealing with the same issues, and artists of the present are making art that reflects these social issues more prevalent for the modern psyche. What I find important is keeping these artists’ views and commentaries alive, and welcoming even harsher criticism of the wrongs in our society. It’s important not to let up the discussion. Keep stoking the fires of change, and changing the tide.
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!
That is awesome you both agree on The Howling Wind. Can you tell us a logline for it? What was the most gratifying moment while working on it? And the most difficult for each of you? What are your plans with it?
During a plagued dust and wind storm in 1963, a countryman takes in a weary traveler seeking refuge, but discovers the truth in the circumstances of his arrival.
LG: The most gratifying moment for me was when we got everyone on set together. Having so many people we trusted in that high energy environment was exhilarating. It was the moment I knew that all of our preparation was coming together and the project would happen regardless of any internal fears Justin or I had. What was great about having both of us on set, when one of us needed to approve something, we each trusted the other to make the quick decisions for our vision and continue filming without missing a beat. A difficulty was the content load we set for ourselves and figure out what to cut in the moment. JK: For me, being able to see the scenes, and hear the dialogue play out in front of our eyes after only seeing it in our heads and on paper was a great experience. As always compromises are made, but that’s the nature of filmmaking! It’s a puzzle, getting the pace and the atmosphere just right, but when the pieces fit and the scenes work, you can feel it, and somehow just know when something is working and it’s very gratifying. A lot of the difficulties were simply those of logistics. Any filmmaker will tell you that time is never on the side of a project. I always say “we are making a movie. Anything, and everything will try to stop us”. Making a movie is pushing against all odds. Luckily for us, our team planned well enough to know what could go wrong within the realm of reason, though things simply happen that you can never predict, but it’s in how you combat those logistical problems, and time crunches that define your production. Our current plan (COVID permitting) is for The Howling Wind to be seen by festival-goers, with our ultimate goal being to find online distribution. The most important thing for us is for our work to be seen and enjoyed, especially by fellow horror fans and filmmakers. We certainly believe there’s a lot to enjoy in it! 
What are some other ways you are involved in the film community? LG: I’m an actor, so my colleagues are usually the actors I hire for my own projects. Because I’m so integrated in many different sides of the business, I can understand the internal conversations on the opposite side of the table and what I should expect from myself in each position. JK: I work behind the camera a lot, serving as an assistant for many different productions, and constantly collaborating with those within the industry whether it’s as an assistant production manager, or helping a filmmaker friend pick the best font for their film’s title card. Especially in horror, the community aspect is incredible -- we love our horror trivia nights online, and in person! That is great. It seems like you both understand the importance of collaboration and teamwork. What is your favorite classic horror movie? LG: It’s a tie between Carrie (1976) and Suspiria (1977). JK: That’s so difficult, but to break it down, I’d say Halloween (1978) for its suspense, Night of the Living Dead (1968) for its social relevance, Night of the Hunter (1955) for its beautiful cinematography, and The Evil Dead (1981) for its sheer entertainment! 
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. Follow HorrOrigins Social Media Pages
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