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The Nick Taylor Horror Show

Podcast The Nick Taylor Horror Show
American Nightmare Studios
Exploring the techniques, strategies, and key pieces of advice for aspiring horror directors, straight from the minds of some of the greatest filmmakers and cre...

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  • Horror Historian David Katznelson
    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.Show NotesMovies DiscussedTexas Chainsaw MassacreHelp Me, I’m PossessedIt’s AliveDerangedBlack ChristmasFlesh for FrankensteinBlood for DraculaLegend of the Seven Golden VampiresCannibal HolocaustThe Friday the 13th franchiseThe 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 ReferencedTobe HooperAndy WarholPaul MorrisseyHerschell Gordon LewisDario ArgentoBooks & ProjectsDavid’s upcoming book on 70s horrorThe Dybbuk (classic Judaic horror)Music ReferencedThe MisfitsBauhaus The DamnedJapanese noise musicPlatforms & NewslettersDavid Katznelson’s Substack: The Signal from David KatznelsonFollow David Katznelson at:IMBd: https://www.imdb.com/name/nm10775975/Instagram: https://www.instagram.com/oakiedog/X (Twitter): https://x.com/oakiedogSubstack: https://oakiedog.substack.com/LinkedIn: https://www.linkedin.com/in/david-katznelson-3a1601/
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  • MEMOIR OF A SNAIL Director, Adam Elliot
    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.Here are some key takeaways from this conversation with Adam Elliot.1. Celebrate ImperfectionsAdam’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.2. Embrace Originality by Looking InwardAdam 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.3. Art Takes TimeAdam’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.4. Balancing Comedy and Tragedy Engages AudiencesAdam’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...
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  • THE DEAD THING Director, Elric Kane
    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.Key TakeawaysBudget Wisely & Plan for Post & DeliverablesA 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.Cast Well, Direct LessAccording 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.Consider Network FinancingInstead 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.Be Relentless About What Matters MostFilmmaking 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...
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  • COMPANION Co-editor, Josh Ethier
    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!Here are some key takeaways from this conversation with JoshLook for the Note Behind the NoteAudience 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.Editing is a “Four-Month Conversation” Between Director and EditorThe 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.Immerse Yourself in QualityJosh 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.SHOW NOTESMovies DiscussedCompanion (2024)Almost Human (2013)Contracted (2013)Gretel & Hansel (2020)We Are Still Here (2015)First Blood (1982)Jaws (1975)Seven (1995)Looper (2012)Books & ResourcesIn the Blink of an Eye – Walter MurchThe Conversations: Walter Murch and the Art of Editing Film – Michael OndaatjeEasy Riders, Raging Bulls – Peter...
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  • WEREWOLVES Director, Steven C. Miller
    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.Here are some key takeaways from this conversation with Steven C. MillerGet a rallyerOne 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 movingSteven’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 yesSteven 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...
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Om The Nick Taylor Horror Show

Exploring the techniques, strategies, and key pieces of advice for aspiring horror directors, straight from the minds of some of the greatest filmmakers and creators in horror. Host Nick Taylor engages in one-on-one conversations with directors, producers, writers, actors and artists to uncover the keys to their creative and professional success in the horror business.
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