Kurt Sayenga is a writer, director, and showrunner who has become a leading force in horror documentary filmmaking. Kurt made a name for himself with series like Eli Roth’s History of Horror, The 101 Scariest Horror Movie Moments of All Time, and Horror’s Greatest, where he brings a scholar’s eye and a fan’s passion to the genre’s most iconic moments. In this episode, we delve into Kurt’s journey from punk-rock zine publisher to award-winning documentarian, his approach to keeping horror history fresh, and his insights on the past, present, and future of the horror genre. Please enjoy this conversation with Kurt Sayenga!

• The Mummy (1932)
• The Architects of Fear (The Outer Limits, 1963)
• Carrie
• Horror Express
• Don’t Look Now
• Nosferatu (2022)
• Beau Is Afraid
• Magnolia
• Silence of the Lambs
• Se7en
• Terrifier 2
• Barbarian
• Companion
• Heart Eyes
• The Stuff
• Dr. Strangelove
• Videodrome
• The Fly
• The Exorcist
• Cell (Stephen King)
• Hereditary

• Kurt Sayenga
• Quentin Tarantino
• Rob Zombie
• Greg Nicotero
• Edgar Wright
• Eli Roth
• David Lynch
• Mario Bava
• Dario Argento
• Lucio Fulci
• Takashi Miike
• Nicolas Roeg
• Ari Aster
• Paul Thomas Anderson
• David Cronenberg
• Stephen King
• Robert Eggers
• Jordan Peele
• David Dastmalchian

• The Misfits
• The Cramps
• Gun Club
• Fugazi
• Minor Threat

• IMBd: https://www.imdb.com/name/nm1012131/
• Instagram: https://www.instagram.com/hermeneuticcircle/
• Website: https://www.kurtsayenga.com/
• LinkedIn: https://www.linkedin.com/in/kurt-sayenga-57961a8/

On this episode we dive deep into the making The Invisible Raptor with writer and star Mike Capes and producer Nic Neary. The film is a hilarious, Amblin-inspired horror-comedy that delivers big creature-feature thrills (without ever showing the creature itself).

Mike and Nic share how the movie originated as a 3 AM idea, the journey from script to screen, and how they secured funding and distribution in a competitive indie film market. They also get into guerrilla filmmaking tactics, crafting a compelling pitch package, boosting production value with amazing locations and handling on-set crises. Please enjoy this conversation with Nic Neary and Mike Capes.

• Jurassic Park (1993)
• Ghostbusters (1984)
• The Goonies (1985)
• Indiana Jones franchise
• E.T. the Extra-Terrestrial (1982)
• Jaws (1975)
• Airplane! (1980)
• The Naked Gun (1988)
• Gremlins (1984)
• Super Troopers (2001)
• Speed (1994)
• Pee-Wee’s Big Adventure (1985)
• Ghostbusters II (1989)
• Terrifier (2016)
• It’s Always Sunny in Philadelphia
• Teen Wolf

The film industry is oversaturated with scripts, projects, and ideas—pitching something uniquely is essential. The Invisible Raptor team understood that a script alone wouldn't grab attention, so they built a compelling pitch package with costumes, action figures, a movie poster, and a humorous pitch video. These tangible assets made the project feel real to investors, giving it momentum before it was even funded. A script isn’t always enough—filmmakers should create visual, physical, or digital materials to showcase their vision, commitment and enthusiasm.

Conventional wisdom tells indie filmmakers to write “contained, low-budget” scripts—but the Invisible Raptor team ignored that advice. They wrote a film with a dinosaur theme park, elaborate effects, and car chases, then figured out how to make it work through resourcefulness, networking, and persistence. Finding an affordable dinosaur amusement park seemed impossible—until a chance conversation with John Stamos led them to the perfect location. Discovery Cube Science Center in Anaheim, where Stamos’ sister worked, had everything they needed—including a giant animatronic dinosaur that pooped, which fit the script perfectly.

By piecing together multiple assets through favors the team gave the movie a much bigger scope than its budget should have allowed. Don’t let financial limitations stifle your creativity—write the best version of your story, then problem-solve to bring it to life.

Filmmaking is grueling, especially on an indie production where long hours and tight budgets push everyone to their limits. The Invisible Raptor team knew that keeping morale high was just as important as hitting their shots. A positive, energized set prevented burnout and kept the production moving forward, even when challenges arose. They understood that even one toxic crew member can derail everything. That’s why they were selective in hiring—not just bringing on trusted friends, but choosing people who truly supported the vision. Negativity spreads faster than positivity, so keeping the right energy on set meant keeping the right people around.

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On this episode of The Nick Taylor Horror Show, we’re joined by journalist and horror scholar David Katznelson. Known for his meticulous exploration of the horror genre’s history, David shares details behind a fascinating project where he watches and analyzes every horror movie from the 1970’s. His most recent focus has been 1974—a pivotal and hauntingly transitional year in horror.

From Texas Chainsaw Massacre to forgotten gems like Help Me, I’m Possessed, David’s work breaks down the evolution of horror, how societal chaos like the Vietnam War shaped the genre, and what makes 1974 a landmark year for the genre. We also discuss his upcoming book on 70s horror and the enduring impact of directors like Tobe Hooper. Whether you're a die-hard horror fan or a filmmaker looking for historical inspiration, this episode is a treasure trove of insights into horror’s rich legacy.

Movies Discussed

• Texas Chainsaw Massacre
• Help Me, I’m Possessed
• It’s Alive
• Deranged
• Black Christmas
• Flesh for Frankenstein
• Blood for Dracula
• Legend of the Seven Golden Vampires
• Cannibal Holocaust
• The Friday the 13th franchise
• The Texas Chainsaw Massacre franchise (including Leatherface: The Texas Chainsaw Massacre III and Texas Chainsaw 3D)
• Exorcist-inspired films (The Sexorcist, Legacy of Satan)
• 70s exploitation films (Vampyros Lesbos, Blood Splattered Bride)
• Mother of Tears (2007)
• Dark Glasses (2022)
• Longlegs (2024)
• The Substance (2024)
• Strange Darling (2024)
• Evil Dead Rise (2023)
• Heretic (2024)
• Terrifier 3 (Upcoming)
• Barbarian (2022)
• Renfield (2023)
• Jason X (2001)
• The Howling II: Your Sister Is a Werewolf (1985)
• Cannibal Holocaust (1980)

Directors & Filmmakers Referenced

• Tobe Hooper
• Andy Warhol
• Paul Morrissey
• Herschell Gordon Lewis
• Dario Argento

Books & Projects

• David’s upcoming book on 70s horror
• The Dybbuk (classic Judaic horror)

Music Referenced

• The Misfits
• Bauhaus
• The Damned
• Japanese noise music

Platforms & Newsletters

• David Katznelson’s Substack: The Signal from David Katznelson

• IMBd: https://www.imdb.com/name/nm10775975/
• Instagram: https://www.instagram.com/oakiedog/
• X (Twitter): https://x.com/oakiedog
• Substack: https://oakiedog.substack.com/
• LinkedIn: https://www.linkedin.com/in/david-katznelson-3a1601/

Today we’re joined by Academy Award-winning filmmaker Adam Elliot. Adam is Known for his painstakingly handcrafted stop-motion films like Mary and Max, and the shorts Harvie Krumpet, which won an Oscar, and Ernie Biscuit.

Today Adam shares the emotional and artistic journey behind his latest film, Memoir of a Snail—a deeply personal, darkly whimsical tale about a young girl named Grace and her struggles with isolation and self-discovery.

Memoir of a Snail—is nominated for Best Animated Feature at the Academy Awards and as much as I loved Flow and The Wild Robot, I’d love to see this movie take home the gold. One thing that struck me when I was watching this is that AI doesn’t stand a chance against work like this—the work is painstakingly personal, soulful, and filled with human touch and it’s authentic movies like these that we need to rally behind.

I cannot say enough good things about this movie, it made me laugh, it made me cry and I found it both entertaining and deeply moving. So all of you Academy voters, make sure to see it before the big day.

In today’s episode, Adam reveals the meticulous process behind crafting his stop-motion films, the challenges of writing deeply human stories, and why he insists on using entirely practical techniques in an age of CGI.

Adam’s aesthetic stems from a physiological tremor that makes drawing straight lines difficult for him. By embracing his imperfections, he’s developed a signature style he calls “chunky wonky.” He encourages artists to celebrate their flaws, both in themselves and their work, as it adds authenticity and charm.

Adam emphasized the importance of creating work that is uniquely your own. Drawing inspiration from his family, personal history, and everyday people, he crafts deeply human stories. For emerging filmmakers, he advises focusing less on homage and more on introspection to find your unique voice.

For filmmakers searching for their own voice, Adam suggests taking a step back from external influences. Instead of asking, “What kind of films do I want to make?” he advises asking, “What stories do only I have to tell?” He believes that everyone has unique experiences that can be shaped into compelling narratives—whether it’s an unusual upbringing, a family quirk, or an unforgettable encounter.

At the heart of originality is authenticity. Audiences connect most with stories that feel honest and deeply personal. Adam’s advice: don’t chase trends or worry about what’s marketable—dig into your own life and embrace the details that make you, you.

Adam’s writing process is unconventional—he starts with the details first, such as small quirks and objects (e.g., John Denver music, guinea pigs), and then pieces together the story and structure later. He went through 16 drafts of the script over three years, emphasizing the importance of patience, meticulous research, and revision. Memoir of a Snail took eight years to complete due to Adam’s dedication to every stage of production—from scriptwriting to crafting the characters and sets. His meticulous attention to detail is a reminder that meaningful work often requires patience and persistence, but the results can be amazing.

Adam’s films strike a delicate balance between humor and heartbreak, ensuring that audiences experience an emotional journey without being overwhelmed by darkness. He believes that life itself is a mix of light and dark, and his goal as a filmmaker is to capture that contrast in an authentic way. If a film leans too bleak, it risks leaving audiences emotionally...

I’m very excited because today, we’re joined by Elric Kane—filmmaker, podcaster, household name in horror and one of the most knowledgeable voices in genre cinema. Elric is the co-host of the ‘Colors of the Dark’ Podcast which I listen to religiously as well as & The New Beverly Cinemas ‘Pure Cinema’ Podcast.

Elric’s new feature ‘The Dead Thing’ launches on Shudder today! I got to see it at an advanced screening and I urge you to check it out on Shudder because it’s excellent and beautifully crafted.

In today’s episode, Elric and I dive deep into the making of the Dead Thing including his innovative financing strategy, the challenges of directing an indie, the importance of casting, and navigating post-production hurdles. Please give it up for Elric Kane.

A common and generally positive ethic of filmmaking is to put every dollar on screen but many indie filmmakers make the mistake of spending their entire budget on the shoot, only to realize too late that post can be just as expensive and time-consuming. Elric stresses that without a proper plan for editing, sound design, color correction, and deliverables, filmmakers risk delaying their release or running out of money before the film is finished. Furthermore deliverables—like legal clearances, contracts, paperwork and permissions—can take months to finalize and often cost more than expected. Budget accordingly.

According to Elric, a director’s best tool is strong casting. No amount of great cinematography, effects, or editing can save a film thats been miscast. Elric emphasizes that the best performances come from actors who already embody the role, rather than ones who need to be excessively directed. The right actors make directing easier and more organic, allowing the filmmaker to focus on the bigger picture.

Elric hired casting director and friend of the show, David Guglielmo, who not only found great actors but also helped with industry connections and even stepped into somewhat of a producer role. A strong cast carries the movie, and a good casting director can open doors you can’t and they are worth every penny.

Instead of relying on crowdfunding platforms or searching for a few large investors, Elric took a different approach—he asked multiple people in his network for smaller investments, typically in $5,000 increments. This approach helped him and his team raise nearly the entire budget in two months.

His advice for anyone hesitant to ask for money is to start by asking the person you least want to ask. Once you’ve crossed that mental hurdle, every ask after that becomes easier. $5,000 investments can add up very quickly - and it’s not that you need to replicate this exact strategy but it’s important to think creatively about how to finance your movie.

Filmmaking requires a lot of sacrifices, but not all of them are created equal. Elric believes that certain scenes are non-negotiable because they define the essence of the film. Throughout the production of The Dead Thing, he had to fight to keep crucial moments in the film, even when time constraints forced other compromises. His philosophy is to figure out what the life force of the film itself is and make sure you get it in the can. Knowing what is essential and protecting it at all costs is what separates great directors from those who let production pressures dilute their film. Elric quoted the Cohen brothers who called the director the immune system of the...

Josh Ethier is a film editor who has become a household name in horror. Josh is the editing force behind such films as: Contracted, Some Kind of Hate, We are Still Here, Mayhem, Leatherface, Bliss, VFW, Orphan First Kill, Christmas Bloody Christmas, The Seventh Day, Gretel and Hansel, Don’t Breathe and most recently Companion which he edited alongside Brett Bachman.

In this episode, Josh gets into his career history, editing process, collaborations with filmmakers like Joe Begos and Osgood Perkins and the story behind the recently released Companion, which is one of my favorite horror movies in a long time. This is a really insightful conversation that I really enjoyed and think you will as well. Please welcome, Josh Ethier!

Audience feedback can be a double-edged sword—sometimes useful, sometimes misleading. Josh learned early on from Stuart Gordon (Re-Animator) that feedback isn’t about taking every note literally but understanding the note behind the note which requires deeper analysis.

For instance, on Companion, early test screenings showed that one character was getting lower audience scores. Instead of softening the character, they leaned into the audience’s dislike and committed to it—embracing the audience’s reaction rather than trying to cater to feedback. As a result, the character actually scored higher in later tests.

The relationship between an editor and a director is one of the most intimate creative partnerships in filmmaking. Josh emphasizes that the strongest director-editor teams are built on genuine relationships, which is why socializing and getting to know each other outside of the work is just as important as the technical process.

The best collaborations happen when an editor and director truly understand each other’s creative DNA—the movies that inspire them, their sense of humor, their artistic instincts, and how they think about storytelling. The editing room isn’t just where cuts are made; it’s where creative risks are taken, where directors feel safe enough to experiment, and where an editor helps guide them toward their best possible work.

The more an editor and director understand each other, the better they can anticipate each other’s needs, develop a shorthand, challenge each other in the right ways, and ultimately make the movie stronger.

Josh believes that editors—and all filmmakers—should obsessively watch and absorb great films. But instead of overanalyzing or attempting to reverse-engineer their greatness, the key is exposure. Some films are great because they have an innate rhythm, a unique DNA that can’t simply be replicated. Rather than trying to deconstruct and apply a formula, internalize their essence. Understand what great filmmaking feels like, so when it comes time to shape your own work, you instinctively recognize when something is working—and when it’s not. This is also a common piece of creative advice given by Rick Rubin, and I highly recommend his book The Creative Act.

• Companion (2024)
• Almost Human (2013)
• Contracted (2013)
• Gretel & Hansel (2020)
• We Are Still Here (2015)
• First Blood (1982)
• Jaws (1975)
• Seven (1995)
• Looper (2012)

• In the Blink of an Eye – Walter Murch
• The Conversations: Walter Murch and the Art of Editing Film – Michael Ondaatje
• Easy Riders, Raging Bulls – Peter...

Today we’re joined by action-horror filmmaker Steven C. Miller to discuss his latest barn-burner of a movie, Werewolves. Werewolves is an unapologetically fun and hydraulic creature feature packed with practical effects, action, and a whole lot of Frank Grillo. Steven dives into his experiences directing Werewolves, his focus on practical effects and full creature suits crafted by Alec Gillis and Tom Woodruff Jr., and his collaboration with star Frank Grillo.

Steven also shares his compelling origin story, which included living in his car in Los Angeles before going on to direct multiple action features and collaborating with legends like Bruce Willis, Nicolas Cage, and Sylvester Stallone. This episode was a real blast and is packed with advice and insights for all you horror filmmakers out there. I hope you enjoy this conversation with Steven C. Miller, director of Werewolves.

Get a rallyer

One of the standout perks Steven shared about working with Frank Grillo is that Frank is a natural rallyer on set. He possesses an authoritative and trusted presence that helps elevate the cast and crew, motivating them to back Steven’s decisions and rise to the challenges of production. Having someone like this on set is invaluable. On any film shoot, there will be moments when morale dips, fatigue sets in, or tensions arise. A rallyer—someone who can inspire and energize the team—can make all the difference.

However, this kind of relationship hinges on trust. Frank Grillo has been on a lot of sets, worked with a lot of directors and has a pretty sharp bullshit detector. During Werewolves, Frank would ask Steven pointed questions, and because Steven always had solid answers, Frank trusted him. This mutual respect allowed Frank to step into a quarterback-like role on set, helping to unify and inspire the team. As a filmmaker, seek out cast members who possess this quality—but understand that it’s your responsibility to earn their trust and respect first.

Keep it moving

Steven’s action-oriented directorial style thrives on momentum. Anyone will tell you that filmmaking is largely waiting around, but Steven counters this with a fast-paced, dynamic approach. By minimizing downtime, he keeps actors engaged, energized, and ready to deliver their best, especially during action-heavy scenes. This efficiency comes from Steven’s deep understanding of set logistics, a skill he honed through hands-on experience in his early days. His ability to streamline production and avoid stagnation creates an environment where both creativity and productivity flourish. Filmmaker Robert Rodriguez has expressed similar ideas, highlighting that actors appreciate the pace, and it allows productions to run more smoothly and on schedule and budget.

Say yes

Steven has directed an impressive number of films, and if you look at his IMDB page, he seems to constantly be working. This is a testament to his “say yes to everything” philosophy. He believes that filmmakers should view every project as a learning opportunity, regardless of whether it’s a passion project. Rather than being overly selective, Steven advocates for gaining as much experience as possible by consistently working and completing projects. This mindset is especially important in an industry where opportunities are scarce. While some directors, like Quentin Tarantino, can afford to be hyper-selective about their filmography, Steven stresses that this is the exception, not the rule. For most filmmakers, success comes from viewing the craft as a career, where consistency and experience are key. By saying yes, Steven not only became a better and more reliable filmmaker but also built relationships and gained opportunities to work...

Today we’re joined by directing duo Adam Schindler and Brian Netto, the creative minds behind the new horror thriller Don’t Move. The guys share how they transformed the universal fear of immobility into a gripping narrative that they ultimately sold to Netflix and discuss what it was like shooting in the Bulgarian wilderness, working with legendary producer Sam Raimi, and how they developed a hauntingly charismatic serial killer played by Finn Wittrock, alongside a powerful and emotionally charged performance by lead actress Kelsey Asbille. Don’t Move is now streaming on Netflix.

Take Breaks.

Early drafts of their script didn’t work—there was a disconnect between the concept of paralysis and the main character’s emotional journey. Rather than forcing a solution, they decided to put the project aside for a while and focus on other things. When they returned to the script with fresh perspectives, they were able to see the story’s missing elements more clearly and reapproach it with renewed energy.

The takeaway here is don't be afraid to pause: when creativity stalls, putting your project down for a short period can provide the mental clarity and distance needed to spot problems and find solutions. Even if you're not directly working on a project, your brain will subconsciously work on a solution in the background. Patience leads to stronger work: Rushing to force solutions can lead to uninspired results. Instead, embrace the process and trust that time away can lead to breakthroughs.

Write a Scalable Script.

Brian and Adam intentionally crafted a story that could be produced at varying budget levels, making it adaptable for different production scenarios. This strategy proved invaluable when pitching the project. Whether it became a $1M indie film shot in a handful of locations or a larger studio-backed production with expanded scope, the story’s essence and emotional core remained intact and gave them the flexibility to pitch to a wide array of producers.

They compared their approach to Beck and Woods who wrote A Quiet Place. When pitching A Quiet Place, Beck and Woods famously intended to shoot their high-concept horror story for $75,000 in their hometown if it didn’t sell. By ensuring their script could be executed with minimal resources, the Don’t Move team gave themselves the flexibility to proceed regardless of the budgetary constraints. For Don't Move, the scalability made the film an easier sell to partners, such as producer Sam Raimi and Netflix, while also leaving room for creative adjustments based on the final budget.

Safety First.

One of the most critical lessons the directors learned from Sam Raimi was the importance of prioritizing safety on set. Raimi repeatedly emphasized that it was their responsibility as directors to ensure the well-being of every cast and crew member, whether during stunt work or handling environmental hazards like shooting scenes on a 200-foot cliff or filming complex car stunts. No shot or sequence is worth compromising the safety of cast or crew, and it’s the directors’ job to uphold this standard at all times.

This commitment to safety extended beyond stunts. Through their leadership, the directors fostered an environment where every crew member felt valued and secure, which in turn contributed to a more collaborative and focused set. By prioritizing safety, they set the tone for a productive and respectful creative process.

Movies Discussed:

• Gravity
• The Vanishing (1988)
• Barbarian
• Smile

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