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iHorror Exclusive! ‘Terrifier’ Crew Reacts to HHN ‘Terrifier’ house!

Published

6 months ago

November 8, 2025

The crew members who brought the Terrifier franchise to life talk exclusively to iHorror about their experiences walking through the Terrifier themed house at Halloween Horror Nights 2025! Read about the cast experience here!

Damien Leone and Philip Falcone outside HHN’s *Terrifier* House

Michael Leavy- Producer Terrifier 2&3

“We were truly blown away by the Terrifier house, the details and a mint of work that was put in was nothing short of spectacular. It was very surreal seeing all of our work and Damien’s vision displayed for all to have fun with and just enjoy. Universal Studios and the Horror Nights team really outdid themselves. It was such an immersive experience and really highlighted the best of the franchise”.

Michael and Jason Leavy, Fuzz on the Lens #LeavyForLeprechaun #LetsGetFuzzy

Jason Leavy- Producer Terrifier 2&3

“The scares are on point and everything is super accurate. It was crazy to see the sets myself and Phil built for the film come to life on a much bigger scale for fans to witness for themselves.”

George Steuber- DP Terrifier 3

“I felt that we had to have made an impact for Universal Studios to induct Terrifier into their Halloween Horror Nights. What an honor. I feel that they did a great job capturing the Terrifier films with attention to detail and very well thought out execution. Top notch. I think they really captured the characters in our super bloody vignettes in just the right light. Excellent job.”

Jason Milstein- Co-Producer/Post-Production Supervisor Terrifier 3

“As a franchise known for bringing people together in theaters and in homes for a shared experience, the HHN announcement felt like a natural extension of that. But personally, my favorite part was stepping into that world and being surprised. When you work on these movies from beginning to end, you don’t get the same experience as someone seeing it for the first time, so the feeling of not knowing what was coming next as we moved from room to room was so much fun.”

LisaMarie Falcone – Franchise Merchandising… and keeping her father sane!

“When I first found out Terrifier was going to be in Halloween Horror Nights I was so excited for Damien and Phil (my dad). Even after all of the amazing experiences Terrifier has given to our family, this was one of the top ones. It felt like a once in a lifetime experience.

I felt like both Orlando and Hollywood captured the movies so well. I felt like I was walking through scenes of the movie, it was so well done.

I think the actors in the houses really brought the whole thing to life. I felt like the “Arts” really studied Dave and mimicked the mannerisms so well!”

Phil Falcone- The Godfather of Terrifier! Producer Terrifier 1, 2, 3

Damien Leone, Phil Falcone, Art the Clown

“When they first contacted Damien and I it was basically to-see if we were interested in being a part of Halloween Horror Nights, and to be honest I didn’t know anything about it. I know now that Damien was never there but definitely knew about and was excited, which made me get excited as well. After just a few quick discussions Damien and I were on board and just wanted to be part of the process moving forward, which we were. They were very forthcoming and ran everything by us. I will tell you, they were very detail oriented and came up with very cool ideas on melding the franchise basically into Art’s funhouse.

They did not hold back and came through with flying colors both in California and Florida. In California we were incited to the red carpet and they spared no expense. They did it right and the house was amazing. Key details and scenes were done amazing and better than we could have hoped for. The people at HHN were amazing. I don’t want to forget names I will say every single person we dealt with was amazing, personable and kind. John Murdy and Mike Aiello met us in Cali with their crew and gave us a personalized tour which was incredible. When we went to Florida we couldn’t be happier, and thought we had seen it all, but they are different houses and both are amazing. In Florida Ramon took us around and gave us the royal treatment like in California.

Both Damien and I were extremely happy with the final results of both houses. They went above and beyond.

For me to put a finger on any one thing would be nearly impossible both houses did a fantastic job and captured the essence of most kills. The thing I loved most was that they both put so much effort into each piece of the house. I loved seeing the kills, and I loved being in the mix. Getting to experience what we were behind the camera, and now experiencing it in real life (almost – haha). I also loved seeing the character actors coming to life. Art, Sienna, Vikki and the Little Pale Girl. I am not usually easily excited, but I can tell you this hit the spot. I thoroughly enjoyed the houses and respect the total commitment from HHN’s crew. Couldn’t be happier.” – Phil Falcone

Special thanks to:

“In California I believe aside from Mike Aiello and John Murdy we were also taken care of by these members of HHN-Mario Karollyn Emily and Anastasia in Fla it was Ramon, Laura and Nick. I may be missing some and if I am I do apologize” – Phil Falcone

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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

Published

1 hour ago

April 24, 2026

Luna Gray

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

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: 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.

News

Astrolatry Built a Ten-Foot Practical Penis Scorpion

Published

7 hours ago

April 24, 2026

Luna Gray

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.

News

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

Published

1 day ago

April 23, 2026

Anthony Pernicka

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.

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A post shared by Dunedin Int. Film Festival (@diffestival)

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.

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A post shared by @shostak.tv

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.