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iHorror Exclusive! ‘New Fears Eve’ Interview with the Creators!

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iHorror had the opportunity to catch up with New Fears Eve creators P.J. Starks and Eric Huskisson! They spill their guts with us about giving birth to a new slasher, on set hijinks, working with Scream Queen Felissa Rose, and more!

iHorror: You wrote New Fears Eve, so it is very much your baby. I imagine having a co-director is a lot like having someone else parent your child with you. Was it hard to co-direct with Eric Huskisson?

P.J. Starks: I’m sure in some cases, if you don’t have a good working relationship with the person you’re collaborating with. Eric and I work well together, so co-directing wasn’t an issue. Usually, we’re of the same mindset, which makes it easier when it comes to creative notes or compromises. Eric also understands that I have a specific vision because I’m the writer and he doesn’t impose where he doesn’t feel like he needs to. That’s not to say he doesn’t have creative input, he does. Only Eric was the original director. I just wanted to write and produce, but he kept looking at me for guidance. Mainly because the bulk of creative direction lived only in my head at the time. I would jump in and start working with the actors, blocking the action, going over dialogue and giving them the rundown of a scene. Naturally this confused some of the actors. We decided after the second or third weekend of shooting that it was probably best if I hopped on as co-director to stifle anymore misunderstanding.

P.J. Starks and DP Alex Clark

iHorror: How long did you have the idea for New Fears Eve in your head before you decided to finally make it?

PS: I randomly came up with the title while we were deep into production on 13 Slays Till X-Mas. That picture was already a stress headache due to filming during the pandemic, therefore the idea got shelved. Once it was decided NFE would be our next film, I started fleshing out the concept. It changed completely from the initial idea. Mostly due to Eric and I wanting to go in some different creative directions. What was intended to be another anthology was turned into a single narrative feature. It was also supposed to be a straightforward slasher with tons of atmosphere, but I have a knack for injecting humor into my scripts, therefore, it became a horror comedy. Which worked out well because Eric and I had discussed wanting to do a comedy someday.

iHorror: What was your favorite kill to write in the script? Does it differ from your favorite kill to shoot?

PS: Without giving too much away, my favorite death was the “Killdo” scene. It went through a couple of variations, but I was very happy with how it came out on paper and even more so how it looks onscreen. I told Eric after I wrote it that if this film was remembered for anything it would be that death. I reiterated this after we filmed it, and then again after I edited the scene together. Ironically, the death that’s talked about most is the toilet kill. Regardless, imagining fresh and inventive character deaths is something I pride myself on, and this one is easily the one I’m most proud and cock sure of.

iHorror: Was there anything in the original draft of the script that was too extreme for the final movie, or that had to be scaled back?

Eric Huskisson: There wasn’t anything too extreme that needed to be cut from the original script. There were tweaks with a few things, and maybe an added kill or joke, but nothing too extreme. In the end after everyone read the final script it was determined that it needed to be scaled back due to its length. Later scenes were chosen by committee to be cut due to their length of time and or the fact that they wouldn’t affect the plot if removed. It’s not what any writer or director wants to do, but it’s an unfortunate necessity in this business sometimes!

Eric Huskisson directing.

iHorror: The characters in this movie are so likable! I was rooting for the main three characters the whole time, and gasped every time the killer got close to them. Do you think making your audience have a connection with your characters is important in slasher movies?

PS: Thank you so much for the kind words. When I’m writing characters, my goal is to make them believable and endearing. As a viewer, if you can’t care about the main characters, the deaths and the movie as a whole have very little impact. I mean, how many times have you heard horror fans complain they could have cared less about the characters in a film. It happens all the time. Brian and Moses were largely based on me, while Leslie was inspired by my now-wife. The character is named after her, so that’s kind of a given I suppose. What I’ve come to learn is that all the people we know in life are characters. If I’m able to harness the humanity of people in my life and can infuse those common traits into the characters you’re watching on the screen, they become real, because we know those people.

Lily Claire Harvey, Turner Vaughn, and Matthew Tichenor with P.J. Starks running audio.

iHorror: How did Felissa Rose get involved in this project? And how was her (hilarious) character developed?

PS: My friend Lance Wagner got us in touch with Felissa. She said she was interested in reading the script. Thankfully she said she loved the screenplay. She had a lot of great things to say about the script which made me feel even more excited about the prospect. Based on the strength of the script and after talking with Eric and I, she accepted the role. We originally offered her a different role. It was an HR rep that I ended up completely rewriting later on. When Felissa asked if we had anyone else in mind, I knew she was friends with Dave Sheridan and Hannah Fierman. She reached out to them, and both said they were interested. Once they read the script, they really liked it and connected with the characters we’d offered. Dave and Felissa have worked together a bunch of times, so they already had great chemistry. Dave’s character originally had a male assistant, but I ended up swapping roles with Felissa and Jeffrey. That way Dave and Felissa could share the screen. It was a good choice because they work so well together. Felissa is one of the sweetest and most enthusiastic industry actors we’ve had the pleasure of working with. She nailed the role and brought so much to both the character and the film.

Felissa Rose, New Fears Eve.

iHorror: What was your favorite part to see come to life from the script?

EH: I have to say, The Doctor. Seeing him go from an idea to on screen was pretty damn cool. P.J. told me about his idea for the doctor and we got our friend BJ Emmick to do some illustrations for us to check out. After a bit of back and forth we had what our doctor would look like. We had Shawn Cowan make the masks and we pieced the outfit together and finished him off with a top hat. He looks awesome on screen, and I think he looks exactly like what P.J. envisioned.

The Doctor in New Fears Eve.

iHorror: Were there any unexpected challenges or obstacles you had to overcome in the moment on set?

EH: Our biggest obstacle is always scheduling our shoots. We are weekend warriors so we have Friday evening until Sunday night to film as much as we can. Trying to manage what scenes we can get done in a weekend matched by if the cast, crew, and location needed for those scenes are all available is a nightmare sometimes. Our biggest scheduling obstacle was getting Felissa, Dave, and Jeffrey Reddick’s scenes all done in a weekend. 

P.J. Starks directing a veteran cast.

iHorror: What is it like watching New Fears Eve with audiences?

EH: I love it personally. I have learned from P.J. to sit in the very back and watch the audience. You get to see if people react to what they’re seeing and hearing. You wait to see if they jump, laugh at one of our jokes, or lean and comment to the person sitting next to them about what they just saw. It’s amazing how each audience is different from the others. The whole crowd will laugh at a joke at one screening, and you’ll get no laughs from the same joke at the next screening. 

2nd Street Set.

iHorror: While New Fears Eve is very unique and stands on its own, you can see your love for the genre throughout the script with small references here and there. Which movies inspired you growing up and helped shape the writer and director you are today?

PS: How much time do you have? [Laughs] I love most all genres, but I’ve always gravitated to horror. The movies that inspired a love that eventually became a creative need to tell stories visually would be Ghostbusters, Return of the Living Dead, Night of the Creeps, Halloween, the list goes on and on. The movie that pushed me to get more serious is Clerks. I’m a big Kevin Smith fan. You can absolutely hear his influence in my writing. Now I use Easter eggs and nuance in all my projects. Some have said it’s done to excess, but it’s my way of tipping a hat to those who’ve helped shape me as a filmmaker and saying, “thank you”.

iHorror: Were there any shenanigans while filming New Fears Eve behind the camera?

EH: Even though our weekends are run and gun, P.J. and I do our best to make sure everyone has a great time and fun on set. As per usual we are constantly picking on each other and bickering back and forth on set which makes people laugh. It’s so bad sometimes people have said we are like an old married couple. It’s definitely something everyone should experience. As for shenanigans, on this set one thing definitely comes to mind. We have a strict policy on set that props and weapons are not to be played with ever. On the NFE set we had trouble with several cast and crew playing around with and touching a certain prop. The prop was adult in nature and people wouldn’t leave it alone. We had to get on several adults that were being juveniles. It was funny but we only had two of these props and we couldn’t take a chance on something happening to one of them.

iHorror: Like many slashers, there is definitely room for a sequel. Have you given this any thought?

PS: Oh of course. What is a slasher film without a potential franchise? I put a lot of personal material in the script for NFE, but I still have more to say and touch on. There’s an idea to continue the story. I’ve already fleshed it out and have about eleven pages of the next script written. Ultimately, how well this one does will determine whether it sees the light of day.

Tell us how we can follow your movie making journey!

EH: You can keep up with us at www.bloodmoonpictures.com, on Facebook at www.facebook.com/BloodMoonPics, and Instagram at bloodmoonpictures15.

Where and when can we watch New Fears Eve?

EH: Starting December 16th, you’ll be able to watch New Fears Eve on Prime Video and as an Exclusive on Screambox. Hopefully we’ll have more platforms and info soon! While you’re waiting don’t forget that 13 Slays Till X-Mas and our other titles are on platforms like Tubi, Plex and Amazon.  

Thank you so much for taking the time to talk with us at iHorror! And we wish you a very scary holiday season!

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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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