10 Takeaways from 4 Horror Producers
TEN TAKEAWAYS from a HORROR WORKSHOP
with FOUR WORKING PRODUCERS
By Daniel Calvisi
I recently completed the inaugural run of my “Story Maps Horror & Thriller Workshop,” a 4-week course wherein I guided a small group of screenwriters to develop original concepts for films and television series in the hottest genres in entertainment. Along the way, I brought in four guest speakers, industry veterans with credits including Final Destination, Cabin Fever, The Manor, Blumhouse, Netflix, Amazon and Lifetime’s “At 17” franchise. These producers, most of whom are also writers and directors, gave multiple rounds of notes on my students’ loglines and provided invaluable bits of insight in exclusive Zoom sessions that touched on craft and career.
Below, I’ve gathered some of the best pearls of wisdom they shared with us. If these lessons intrigue you and you’re interested in developing your own dynamic concept for a genre film, we will be running the course again so click here to check on dates and availability.
In no particular order:
- Horror is red hot. From Evan Astrowsky, producer of the Cabin Fever franchise: “Horror is the one genre that just won’t go away, it won’t die. Studios are making them, indies are bangin’, and they’re also big internationally. So that’s always a good thing.”
- Most great horror begins by tapping a universal PRIMAL FEAR, making it certain to connect with a large audience. A great example of this is The Substance, which tapped into women’s fear of becoming irrelevant as they age. From Christine Conradt, currently producing three thrillers for Lifetime: “Horror needs to be scary on a primal level. That’s why it’s better in a theater, for the communal experience of having that same fear with others at the same time. The fear stays with you, it haunts you. Thrillers are scarier on an intellectual or psychological level.”
- Keep that logline TIGHT. One line with no extraneous words is ideal. Two lines is okay, but only when absolutely necessary to understand the concept. One line or two, you can’t spend too many words on setup, and you must highlight the central engine of the story. Avoid passive sentence structures! Jeffrey Reddick, creator of the Final Destination franchise says “You want to tease them with a hook and show them there will be mystery and thrills.”