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iHorror Exclusive! Mason Mecartea talks ‘Terrifier 3’ and His Love for Horror

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Mason Mecartea is more than just a pretty face. His role as Cole Deveraux in Terrifier 3 introduced him to a world of horror fans, and now he is here to stay.

Not only is this young actor making himself known on the silver screen, but behind it as well. Mecartea’s production company THEDAY, works on projects from independent horror movies to music videos.

“From visionary short films and music videos to narrative features, THEDAY is continuing to push forward and create high quality films that elevate independent film in the Southeast.”

Read iHorror’s exclusive interview with the young star who put his ass on the line, or rather… the bathroom floor… in Terrifier 3.

How did you get interested in acting as a career?

Mason Mecartea: I really fell in love with acting because of my dad. He’s always been a movie lover, and a very creative person himself, so growing up he would shoot short films with me and teach me how to edit, write, and direct. Movies became such a big deal to me because of my dad.

Thankfully, both of my parents were super supportive of me trying out acting and getting involved with local theater productions where I was growing up in Tennessee. In middle school and high school, I started to take making short films and acting a lot more seriously.

Mason Mecartea.

Eventually, I signed with a great Southeast Agent, who brought me a lot of cool opportunities to audition for. The funny thing about growing up in Nashville as an actor is, you act in a lot of music videos. These music videos were such a great learning curve of learning how film sets run. I was just soaking everything in every chance I could. I was supposed to graduate high school in 2020, but because of Covid, it set so many things back.

Mason Mecartea.

It was really a dark period trying to figure out what my plan was, and that’s when I booked a small part on Stranger Things. It really was the first time I felt like I could make a career out of this dream. Also, Stranger Things was on the top of my list of dream projects to be a part of, so it was such a surreal moment. I’m incredibly thankful to my parents for all of their support throughout this journey, I wouldn’t be here without them.

Alongside Terrifier, fans know you for your role as Dan Shelter in Stranger Things and the 2023 horror short Smashing Pumpkins. Are you a fan of the horror genre?

Amybeth McNulty and Mason Mecartea in Stranger Things.

Mason Mecartea: Yes, I am! It took me a while to grow into it, but I had a lot of gateway horror movies and TV shows that really planted a lot of seeds for me. I grew up loving the X-Files, which scared the heck out of me, and then eventually that intrigue grew into discovering John Carpenter and Wes Craven films. I fell in love with the cozy atmospheric horror, but then I started to expand into slasher and supernatural films.

Growing up watching a lot of 80s movies had me falling in love with practical effects and all of the style of the genre too. One of my earliest horror movie memories was watching the ending of Jeepers Creepers 2 on TV with my dad. It scared me so bad I had nightmares for such a long time. Now Horror is one of my favorite genres, and I love learning about and watching new and old films I haven’t seen yet. Horror rules! Scream (1996) and John Carpenter’s The Thing are my all time favorites. The short film Smashing Pumpkins I co-directed with Hunter Romanillos is a total love letter to Carpenter.

Did you watch the first two Terrifier films before auditioning? Were you aware of the original’s gore and over the top death scenes before going in to audition?

Mason Mecartea: I hadn’t watched the movies before auditioning. I was familiar with Art the clown‘s face, and how creepy he was, but that was about it. One of my first memories of Terrifier was hanging out at a theme park with my buddies and the bedroom scene from Terrifier 2 popped up on Twitter. While waiting in line for a ride, we watched it in complete shock and horror. We couldn’t believe what we were seeing. I have a photo of my buddy’s face watching the scene with such disgust, it’s hilarious. Little did I know that about four or five months later, I would receive an audition for Terrifier 3. I eventually taped my first audition with my best friend and we just had a lot of fun with it, not really confident that I would be the right guy for the movie.

Elliott Fullam and Mason Mecartea in Terrifier 3.

What was your audition process like for Cole?

Mason Mecartea: The first audition was a scene from Terrifier 2. It was Jeff’s scene inside the car with Brooke. I actually taped the scene in a car. We had a lot of fun with it and just threw it to the wind. A week later or so, I get a call from my manager that they want me to read another scene. This time, it was an actual scene from Terrifier 3 with Cole and Mia. I was in New York with my girlfriend at the time, and so we had to quickly whip together an audition set up and do the best we could.

Mason Mecartea and Alexa Blair on the set of Terrifier 3.

Surprisingly, I made it past that stage, and I had a chemistry read with Alexa Blair that went really awesome. She is amazing! I think after that, I had to wait a minute, and then Damien called me and offered the role which was such an awesome moment.

When you read through the script and got to your death scene, how in depth did it go? Were you prepared for the gruesomeness ahead? Or did it just say ‘ART enters the bathroom and kills MIA then COLE.’?

Mason Mecartea: What’s really funny is that when Damien called and offered the role to me, he said, “the role is yours if you feel comfortable with this material.” And then he texted me a super confidential, one page, PDF of just the death scene. Even just auditioning for Terrifier initially, I was pretty certain that this character was going to have a death scene, but nothing prepared me for how INSANE this scene was gonna be.

Mason Mecartea as Cole in Terrifier 3.

It was really detailed. Damien is a really amazing writer, so not a lot was left up to the imagination which was cool cause you could absolutely see it while reading it. I had to sit and think about it for a second, but having spoken with Damien on the phone, I knew that he was an amazing dude and that he was going to do this really well and take care of us, so I knew it was an absolute yes. I really wanted to be a part of something crazy and cool like this.

What was the makeup process like to get you ready for Cole’s death scene?

Mason Mecartea: That was one of my favorite aspects of the filmmaking process. The team flew me out to LA to meet with Christien Tinsley and his team at their studio (Tinsley Studio) in Burbank. I had to sit in the makeup chair for about 40 minutes, or so, as they dumped this green goo all over me. As a lover of practical effects in movies, it was really cool to have grown up watching behind the scenes special effects stuff just like this, and then to be in that makeup chair myself. Also, Christien Tinsley is a legend!

Christien Tinsley, special fx master.

They had to do the goo process on my upper half and my lower half, and while it was very claustrophobic, it was very exfoliating afterwards, funny enough. It wasn’t until I was on set months later, that I got to see my dummy body on set. It looked absolutely real and was pretty surreal. I loved it.

Terrifier is such a grotesque film, were there any pranks played on set to lighten the atmosphere? Do you have any memorable set stories to share with us?

Mason Mecartea: What was really cool about working on this film was how light the energy was on set. Although filmmaking can be such a grueling process, the attitudes and energy remained high. My first week of Terrifier was just fun dialogue sequences with the cast so it felt pretty normal. Then the following week of production was just a full week in the shower. Filming the shower sequence was like running a marathon, but working with David, and having Alexa by my side, made for really awesome energy.

Alexa Blair, Terrifier 3, shower scene.

I remember the three of us would go to lunch in all of our bloody prosthetics and just laugh at how insane we all looked. David, in all of his Santa Art the Clown costume, was full of jokes throughout the shooting of the sequence. I’ll never forget David’s improv bits as they shot Art’s coverage of him wreaking havoc on Cole. They got so many different variations of him reacting to Cole and Mia’s terror. David is so talented and it was a joy to watch him work.

You have been busy traveling the horror convention circuit. What has that experience been like?

Mason Mecartea: The convention circuit has been so incredible! My first one was “For the Love of Horror” in Manchester, England. It was just Margaret Anne Florence and I and we were blown away by the incredible experience. One thing I was not prepared for was how amazing the Terrifier fan base is. It has been such a gift to travel around with the cast and meet all of these fans and talk about horror movies. Each and every convention has been such an adventure, and I’ve made so many new friends because of it. I look forward to doing a lot more next year as well!

In addition to the acting world, you direct, produce, and edit music videos. Are there similarities in the music industry to making a movie?

Mason Mecartea: Growing up, making short films with my dad and friends, led into also pursuing work behind the scenes in between acting. Depending on what kind of product you and the artist are looking to produce, music videos can totally feel like mini movies. One of my best friends growing up is an artist named Ryman, and the two of us really prioritized trying to tell really cool stories within the short window of the song. Ryman was my first go at producing music videos and I really got to cut my teeth on some cool projects with him. I love when music videos can tell a story, visually, that handshakes with the lyrics and the vibe of the song.

What projects are you working on now, both in the movie and music worlds? And how can we keep up to date with you and your ongoing projects?

Mason Mecartea: I’ve got a lot coming up and I’m very excited about. Just this year, I officially launched my production company THEDAY Productions, which has been doing a lot of music videos and short films, but is finally going to start diving into independent features. My team and I are hard at work getting some things moving while I’m bouncing between acting projects. If you wanna learn more about that, you can go to www.thedayproductions.com to keep up! I’m also sharing a lot of updates on my personal Instagram @masonmecartea and @thedayfilmsco.

Thank you so much for talking to us at iHorror! Your death scene in Terrifier 3 has certainly given many of us nightmares, and will go down as one of the best in the franchise!

Mason Mecartea: Thank you so much for having me, and for the kind words. It’s truly been a blessed journey so far.

I can’t wait to do more horror in the future hopefully! A huge thank you to Damien, and the entire cast and crew, for letting me join in the Terrifiam.

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This Week in Horror: DC Goes Full Body Horror, A24 Has Its Chainsaw Man, and The Bone Temple Is Finally Yours

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Good week. The Clayface trailer dropped and made DC relevant to this website for the first time in a while, A24 put a director on the Texas Chainsaw Massacre reimagining, and we got some interviews worth reading. Here is all of it.

Clayface Has a Trailer, and It Is Exactly What You Want

The Clayface trailer landed Wednesday, and it is DC’s first real horror film. Not horror adjacent. Not dark. Horror. Tom Rhys Harries plays Matt Hagen, an actor whose face gets disfigured by a gangster. He turns to a scientist, played by Naomi Ackie, who transforms his body into clay. Then the body horror starts.

James Watkins directed, which is the right choice. He made Speak No Evil and before that The Woman in Black, and he understands how to make dread feel physical. The screenplay is by Mike Flanagan and Hossein Amini. That combination should tell you everything about the tone they are going for.

A24 Has a Director for Texas Chainsaw Massacre and His Last Film Cost Under a Million Dollars

Texas

Deadline confirmed that Curry Barker is writing and directing A24’s reimagining of the 1974 original. Barker made Obsession for under a million dollars. Focus Features paid north of fifteen million to distribute it. It sits at 96% on Rotten Tomatoes. A24 hired him before it even opens, which opens May 15.

Kim Henkel, who co-created the original with Tobe Hooper, is executive producing his own creation’s reimagining. That is either a blessing or a haunting. Probably both.

Astrolatry Is Going to Cannes and We Talked to the Actor Who Faced the Creature

Astrolatry is heading to the Frontières Buyers Showcase on May 16-17. The film has a sentient severed penis that grows into a ten-foot practical creature with spiky teeth. We interviewed star Ethan Daniel Corbett about what it was actually like to act against it. Short answer: genuinely terrifying. Long answer is on the site.

The Bone Temple Is Home

28 years later: Bone temple

28 Years Later: The Bone Temple hit 4K UHD, Blu-ray, and DVD on Tuesday. If you held out from the digital release in February, now is the time. The 4K presentation is supposed to be great. Extras include audio commentary and a deleted scene. If your gonna watch The Bone Temple, why not watch it where the snacks are better.

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Astrolatry Built a Ten-Foot Practical Penis Scorpion

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A sentient severed penis grows into a ten-foot creature with spiky teeth. Genre cinema is doing fine.

Astrolatry follows Elliot, played by Ethan Daniel Corbett, who is every ingredient for quiet catastrophe assembled in one man. Socially isolated. Physically isolated. Craving dopamine and finding it in the wrong places. The romance guru pipeline, followed to its logical conclusion. Elliot does not just spiral. He loses a piece of himself, literally, and that piece does not cooperate.

Corbett described it as “a horror satire, a trippy mind-fuck roller coaster” and “a modern retelling of Maniac,” both of which are accurate and neither of which adequately prepares you. Director David Gordon is making his feature debut after shooting 14 films as a cinematographer and he is swinging for the fences.

The Creature

The effects company behind the creature has festival circuit work Corbett had already seen before signing on. He knew what they could do but he was not ready. “When I saw it in person it was kind of mind-blowing,” he said. “Everything that you see in this movie is practical. Very, very little else. It was genuinely terrifying to have a ten-foot creature coming at you with a big mouth and spiky teeth.”

A CG creature asks an actor to imagine something. A ten-foot physical creature on a set asks nothing. It just arrives. The fear on Corbett’s face in those scenes is not a performance. It is the normal reaction to a scorpion dick with sharp teeth.

Elliot

Corbett went into the character through the body. “I mainly focus on the physicality of it. Who this character is and who he is wholly. I strive in those kinds of moments as an actor.”

Gordon was explicit about the concept, the “nice guy” archetype and the overtly toxic one are the same problem, both aimed at the same object. That reading lands because Corbett does not play it as a reading. Elliot is not a symbol. He is a person.

Where It Is Going

Astrolatry is heading to the Frontières Buyers Showcase at Cannes on May 16-17. “To be able to get into that kind of room on David’s first feature is incredible,” Corbett said. “To be in front of buyers and to showcase the film and potentially get distribution through that.” Frontières is the correct room. It is full of people who understand that the most extreme premise, executed with precision, is not a punchline. It is an argument.

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ShoStak Opens the Door for Filmmakers to Build and Own Their Stories

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A new player is stepping into the space, but ShoStak is making one thing clear right away.

It is not trying to be the next Netflix. It is not chasing TikTok.

“Cinema does not need another platform. It needs a new model.”

That idea sits at the core of what ShoStak is building. Not just a place to watch content, but a system where creators and audiences connect in a way that feels very different from what we are used to.

The First 150 Competition Is Already Underway

ShoStak is kicking things off with its First 150 Competition, giving filmmakers a chance to present their story worlds and compete for the opportunity to move into production.

Projects are introduced as series concepts or pilots, then advance through multiple stages. Audience voting plays a role, but it is only part of the process.

Selections are ultimately shaped by a mix of audience engagement, creative execution, and overall project readiness. It is not just about popularity. It is about building something that can actually move forward.

For creators, it is a rare chance to get in front of both an audience and a structured development path at the same time.

One Platform, Built Around a New Model

Everything now lives under ShoStak.tv, where both creators and audiences come together.

Creators can sign up, develop their projects, and begin building their audience. Viewers can discover new series, follow story worlds, and engage with projects as they evolve.

ShoStak describes this as a cinematic ecosystem. Stories are not treated as disposable content designed to spike and disappear. They are built to grow over time.

And that growth happens in public.

Ownership Without Losing Structure

One of ShoStak’s core ideas is giving creators more control over what they build.

Filmmakers are positioned to:

  • Retain ownership of their intellectual property
  • Build direct relationships with their audience
  • Grow projects based on real engagement

At the same time, this is not a free-for-all.

There is still structure. Projects are evaluated, developed, and refined through a process that blends audience input with creative and strategic decision-making.

Instead of removing the system entirely, ShoStak is reshaping how creators move through it.

Development Happens in Public

This is where things start to separate from the traditional model.

Instead of developing behind closed doors, ShoStak allows projects to evolve in front of an audience.

Creators introduce their ideas, build a following, and expand their worlds over time. As engagement grows, so does the project.

It is less about waiting for approval and more about proving momentum.

Over time, that turns the platform into something larger than a development program. It becomes an open ecosystem where creators and audiences push stories forward together.

More Than Just Testing Ideas

Micro-series are a big part of ShoStak’s approach, but they are not just a testing ground.

They can be the final product.

The format allows creators to:

  • Tell complete stories in shorter form
  • Build long-term story worlds
  • Expand into larger projects when it makes sense

It is not about proving an idea and moving on. It is about giving that idea room to grow in whatever direction fits.

Why This Matters for Horror

Horror has always thrived outside the system.

Some of the most memorable films in the genre came from creators taking risks, working with limited resources, and finding their audience without waiting for permission.

ShoStak’s model fits naturally into that mindset.

It gives horror creators a space to:

  • Build original story worlds
  • Connect directly with fans
  • Grow projects without losing control

And with early content like Civilian and Liminal already rolling out, it is clear the platform is aiming for more than just quick-hit content.

A Different Path Forward

ShoStak is not trying to compete by doing the same thing better.

It is trying to change how stories are created, developed, and sustained.

By combining creator ownership, audience engagement, and a structured development path, it offers something that feels closer to a creative ecosystem than a traditional platform.

Whether it works long-term is still unknown.

But for filmmakers looking for a new way in, it is opening a door that has been closed for a long time.

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