Interview for Jared Masters

 In Slink, you crafted a disturbing, almost “plasticized” aesthetic. What inspired you to explore horror through the world of fashion and body manipulation

I appreciate the question, but the answer alludes me. I wrote it before I was a true horror fan, and I kind of just envisioned a story that I thought people might resonate with and I was right, because it seems to be the film that people associate with me most. I was working on a fashion-themed TV show in New York City at the time so perhaps that had something to do with it. The idea seemed to have sparked people’s interest, but why I wrote it or what inspired me is a conundrum, because I ultimately don’t know why I do what I do, but since then I’ve become somewhat of an avid horror fan, especially slashers of the 1980s and the newer sophisticated horror that’s been coming out like The Conjuring universe. I’m interested in making something similar.

With After School Massacre, you return to pure teen‑slasher territory. What draws you to this subgenre, and how did you make it feel personal and unmistakably yours

I was really inspired by the Slumber Party Massacre trilogy and even contacted Roger Corman to see if I could call it Slumber Party Massacre 4. His secretary called me an egomaniac and they said they had their own slumber party movie in development.

 Many of your films, like Blood and Ballet of Blood, revolve around the theme of corrupted innocence. Where does this narrative obsession come from

I never realized this reoccurring theme, but indeed, it must be true, and all I can say is that it’s probably more interesting to corrupt an innocent character than to corrupt a character that’s already lived a life and used to problems and hardship. 

 Looking at your filmography, there’s a strong independent spirit running through your work. How important is it for you to maintain full creative control, even when that means facing tight budgets or more complex productions

I started off really envisioning myself as a screenwriter. I heard stories about screenwriters being disgruntled after studios would alter their scripts and I always felt that I would be different. I would never complain if a studio changed my story because I was paid. But after many years of realizing how hard it was to sell a script, I decided I must make the myself if I wanted to see them come to fruition, so that’s what I did. It was challenging then because HD filmmaking was something only the elite and privileged few could afford. I was happy just humming along and doing my own thing in standard definition. Then the Cult Film Goddess, Bouvier, contacted me and wanted me to make her comeback film Club Lingerie. It was one of the most challenging pictures I had to make and I even took my name off the finished product because of how miserable it made me feel at the time. She put a lot of pressure on me to deliver a masterpiece and ensure that she would be nominated for an Oscar. The film has since become somewhat of a modern cult classic. But I told myself I’d never collaborate with anyone ever again after that experience and now I only do my own stories, because it’s just too hard to truly understand someone else’s vision. I suppose I would try if I really believed in someone else’s idea, but I would proceed with caution because I’d rather not be the scapegoat to a cinematic failure that was really to be blamed for someone else’s passion project.

Your films often embrace a deliberately raw, almost grindhouse look. Is that a stylistic choice, or a way to bring horror back to its dirtier, more authentic roots

I’m definitely a fan of grindhouse style films and a lot of that probably comes out subconsciously or consciously in my work, but I always strive for the best image quality I can produce but often times I feel that the image is too perfect and feel the need to add some flaws in on purpose to give it a more dangerous feel. I’ve think of myself somewhat as a cinema punk, perhaps approaching filmmaking as kind of a counter culture in a world that’s so saturated with high gloss content. Perhaps it’s just my way of being different, but I really don’t know why I gravitate towards that style.

What are your all‑time favorite horror films — the ones that truly shaped your directing style — and how do those influences show up in movies like Slink or After School Massacre

The Exorcist, the original Dracula, Suspiria, Society, The Birds, Doris Wishman’s A Night to Dismember, Chucky trilogy, Silence of the Lambs and Jeepers Creepers I like and maybe influenced Slink. After School Massacre was definitely influenced by the classic 80s slashers like Slumber Party Massacre and The Burning.

Many of your characters are intentionally over‑the‑top, almost grotesque. How do you work with actors to strike that balance between exaggerated and believable

I think for some reason, I’m just interested in bad acting. It kind of amuses me, which is perhaps one of my greatest flaws but I love hiring bad actors apparently. I used to never even audition and just cast off of headshots. That was a total disaster, as some people could barely speak English and really butchered some of my best dialogue. I just love when things are really hammed up, perhaps how John Waters likes it for his films.

The indie‑horror audience is incredibly loyal. How do you experience your relationship with fans, and how much does their feedback influence your creative decisions

I recently discovered that I have a whole trove of fans that I was unaware of, and I was very grateful. A lot of of them seem to be hanging out on Letterboxd and had some very funny and nice things to say about my films. Some of them really get me and crack me up, so because of this, I just recently started reading reviews again, occasionally. I stopped reading reviews a while ago because I found most of them to be crude and sometimes even hurtful, but perhaps enough time has passed now, and people are warming up to the idea of something different, alternative cinema. Some of my fans have been very cool to me and I even put one of them in my recent film ‘Feral Feral’. Her name is Pamula and I really saw talent there. She was shocked that I offered her the role. I put her in the movie, and I thought she was one of the best characters.

Your films often blend genres — slasher, exploitation, dark comedy. Is there a hybrid you haven’t explored yet that you’d love to tackle

I’d love to do some sort of drama that makes people cry. It’s the one thing I haven’t been able to do. I can make them laugh. I can make them scared, but if I could make them cry, I feel like I would really achieve something great. I already made my Bible Epic, ‘Absolute Vow’. I like odd melo-dramas. A western would be interesting and also a big budget sci-fi film. I have an idea I’m developing already called ‘Andronika’.

 Can you give us a hint about your upcoming projects? Are you developing a new slasher, a sequel to one of your fan‑favorites, or something completely different

I actually have a lot in the works right now. I’m finishing up my mermaid horror movie ‘Tropical Parasise’. New trailer just dropped. I also might be doing a slasher centered around gymnastics called ‘Dismount’ and my favorite script ‘Carny Girls’ might be coming to life, a dark thriller about white trash sisters, abducted by evil carnies and forced to work in the “World’s Weirdest Girlie Show” against there will and must escape and get revenge.

My movie ideas are never-ending so hopefully many more of them will be made. I apologize in advance.