Behind the Fear: A Conversation with P.J. Starks About Independent Horror, Storytelling, and Creative Evolution.
Horror filmmaking is about more than scares, blood, and unexpected twists. Behind every story is a creative mind making choices about characters, atmosphere, and the experiences that stay with us long after the credits roll.
In this interview, we sit down with P.J. Starks, an independent filmmaker, screenwriter, cinematographer, and producer whose work spans horror, comedy, and collaborative filmmaking. Known for projects including the Volumes of Bloodfranchise and New Fears Eve, Starks shares insights into the challenges of independent filmmaking, the importance of creative collaboration, and the personal experiences that sometimes find their way onto the screen.
From the evolution of his work and the realities of producing films independently to the influence of grief and personal experiences on his storytelling, Starks offers a behind-the-scenes look at the passion and thought that go into bringing stories to life. Join us as we look beyond the scares and explore the person, creativity, and process behind the horror.
1. Before horror became such a defining part of your filmography, you wrote and directed A Mind Beside Itself, a psychological romance. What did that project let you explore that you still carry into your work today?
I made AMBI as a reaction to some of the negativity thrown at Hallows Eve: Slaughter on Second Street, a film I wrote and directed in 2008. I had lost two children between having my sons Logan and Connor, therefore AMBI allowed me to find a constructive way to deal with my grief, incorporate more personal pieces of myself into my films as well as honor the memory of Nolan and Riley. I’ve discovered the most meaningful stories I’ve written are when I’m vulnerable enough to inject the most intimate details from my life, even if the audience isn’t aware. That’s what I did with New Fears Eve to great success. I’ve done the same, probably even more so, when writing New Fears Eve Part 2.
2. You worked on Murder in Kentucky during the International Mystery Writers Festival, then later became a character in Lee Goldberg’s Monk and Ian Ludlow novels. What’s the most surprising connection between your real filmmaking life and those fictional appearances?
Wow, great question. It wasn’t until after I’d helped Lee make his short film Remaindered, that he wrote me as a character, but becoming part of the Monk book franchise or being written into Lee’s novels as a substantial character was not on any of my life bingo cards. In ‘Killer Thriller’ my character is a filmmaker, but I’m portrayed as very egotistical and pretentious. Staples of a cliché Hollywood filmmaker. I’m still working outside the system, so I haven’t gotten cool enough to be too egocentric just yet [laughs].
3. On Lee Goldberg’s short Remaindered, you were the cinematographer and co-editor. What did shaping someone else’s story through the camera and edit teach you about what a scene can communicate without dialogue?
There are many factors that play into a shot without dialogue. Composition is key. Lighting sets the mood. The actor’s facial demeanor and body language say the rest. In the editing room Lee was highly critical of how long certain shots needed to be. It taught me how even several frames shaved off a scene can make or break the pacing. I’ve always been a very visual person, typically shooting as I write and editing as we film. Being on the other side of that gave me a more rounded perspective.
4. You created The Preylude to expand the world of Volumes of Blood. What can a short online film do for a story world that a feature film can’t?
For one it was a great marketing tool, giving viewers a look at what to expect even before watching the feature. The other thing it does is give the viewer a glimpse behind the curtain and connect plot points the feature otherwise leaves ambiguous. The predominant factor is Shelby was such a great actor, and I hated that her abilities were relegated to only being viciously murdered. I wanted everyone to see what I saw during auditions. That was the true motivation. I felt she deserved a platform to shine. Lastly, it was an excuse for us all to get back together and do something fun.
5. With anthology films, audiences move between stories made by different creative teams. What choices help those shifts feel like part of one experience instead of separate films placed side by side?
With the first two Volumes of Blood films the only changing roles were the directors. For most of the production, we had the same team creating each sequence. That helped keep a fluid organizational culture behind the camera. Granted, each filmmaker brought their own vision to each segment, but the connective tissue was always the central locations. In part one it was a public library and in part two it was an old Victorian home. Even if the visual style shifted, the environment looked the same. With 13 Slays Till X-Mas we were dealing with an entirely different beast. We had fourteen different filmmakers from all over the country work on the film. To keep things cohesive, they were given strict technical guidelines, and everything had to be approved by Eric and myself. That was the only way to truly make sure the film looked and felt in sync.
6. You produced The Confession of Fred Krueger, a fan film connected to a well-known horror character. How did you think about honoring what fans already love while still giving the project its own identity?
I honestly cannot take any of the credit in those departments, it was all Nathan. He was having a difficult time getting the film made in Louisville, so I offered my connections here in Owensboro. My biggest influence was simply helping facilitate the film getting made. Once he determined that he was going to shoot Confession here, he wanted to expand the story a little. I brought Eric into the fold and together we managed and coordinated most of the production.
7. 13 Slays Till X-Mas was filmed across Kentucky and seven other states during the pandemic. Was there a moment when the project’s unusual production method changed the story or the way you approached making it?
The overall structure of the film nor the wrap around were changed. We went into production as if it were business as usual. Then the pandemic hit. Two segments were filmed and the shutdowns occurred. At that point we were even sure if we’d even get to film the rest of the movie let alone even be alive in six months. Over the four months the production was on hiatus we lost a couple of filmmakers and we brought in others, so of course those stories changed and new concepts had to be approved. Once society began to open back up, we were all stir crazy and dying to get the film back on track, so each segment began moving forward. What was impacted most were some of the narratives had to become more contained to a single space or location due to strict and varied state guidelines. Of course, we adhered to safety protocols and some of that affected the way we made the movies behind the scenes. Thankfully no one got sick. At least not directly from our sets.
8. The Barn Part III is the final installment of a retro Halloween horror franchise and entered the festival circuit in 2026. What does producing a franchise finale require that producing a standalone film doesn’t?
Of course I had a cameo in The Barn Part II, but to produce the concluding chapter was pretty cool. Much of my work on the film during pre-production was helping build the crowdfunding campaign doing graphic design and ultimately helping shoot portions of and then editing the promotional video. Justin was looking for an actor to play one of the main roles and that’s when I got him in touch with Courtney Gains, who gives a fantastic performance in the film. I would later help Felissa Rose get involved as well. During shooting Eric and I went to set in Pennsylvania for eight days. Our involvement there varied. Nothing is beneath me, so I’ll do everything from setting up craft service to grip. During post I helped facilitate some promotions and marketing as well as editing the film trailer. Overall, it was fairly the same. Pretty much all my duties were as if this was a standalone movie. Anything that dealt with the overall continuity making sure it fit seamlessly with the previous installments fell on Justin’s shoulders and maybe his script supervisor. At the end of the day the capacity with which you’re involved determines what is required and thankfully I didn’t have to worry about narrative consistency.
9. The Last Sleepover centers on revenge and features Felissa Rose and Lisa Wilcox. What interested you about helping bring this particular story and cast together?
After I read the script for The Last Sleepover, what grabbed me most was the simplistic nature of the story. It’s a very basic revenge plot, with no overly convoluted backstory. It also has a very 90s feel to it. That’s truly what drew me in most. My only real criticisms were the deaths and some of the dialogue. A lot of the kills were just stabbings. Slashers are my favorite subgenre, not to mention I’m a big gorehound. I was asked if I wanted to do a pass to create variety with the kills and punch up some of the dialogue. That’s how I wound up with a writing credit on the project. The cast was already in place by the time I was brought onto the project, but it gave me an excuse to work with Felissa again. She’s a sweetheart, very fun to work with and professional. When her and I were on set together, for this movie, we had a lot more downtime to just get to know each other. We really walked away from this as friends and that’s what I’ll always remember most.
10. Half-O-Ween plays with the idea of a Halloween-style horror comedy outside the usual Halloween season. What made that concept work for a short film?
I was already a fan of Stephen’s work. His film Doll Factory is great, plus I was an executive producer on his horror-comedy short Dracula’s Coffin. Coming onto Half-O-Ween was a no-brainer. Stephen and Mike wrote a very tongue-in-cheek slasher script. I’m sure by now you’re seeing a pattern in the sorts of films I like working on [laughs]. I also like working with creatives who are open to ideas. I had some ideas I wanted to throw at Stephen and Tim with the script. A few of them actually got used [laughs]. The basic idea works well because it’s about these two people who are trying to navigate something very personal when they’re thrust into an awkward situation where their landlords show up and won’t leave. They equally can’t leave because there’s danger lurking outside. I can say there is a narrative feature version of Half-O-Ween. This short is more or less a proof-of-concept with the hopes it can be expanded.
11. You completed the supernatural thriller screenplay What Ghosts Do Unseen in 2026. What was the first image, question, or unsettling idea that led you into that story?
I don’t want to give away too much, but the script utilizes some of the most devastating recent scenarios from my life crafted together into what I think is a gripping and emotional supernatural journey. While the film is essentially horror, at its core the story is about grief, faith and trust. It’s also completely different from anything I’m known for writing. While I typically infuse my dialogue with humor, I purposely stayed away from jokes to cultivate a much darker premise. I wanted to do something different and based on the reactions from those who’ve read it, I believe that’s been achieved.
12. Your writing has received recognition for both dialogue and character. When a screenplay is being considered for festivals or awards, is there a particular scene or character detail you hope readers notice?
I just want to create characters that are relatable with dialogue that’s fun and sounds real enough where audiences can connect with at least one of them. You’re never going to please everyone; nevertheless, the consensus seems to be out that my writing is enjoyed more than it’s loathed. If you laugh and walk away caring for at least one of the characters I’ve done my job.
13. You’re developing New Fears Eve: Part 2 with Eric Huskisson and Jeffrey Reddick. What creative question are you trying to answer with the sequel that the first film left open?
First and foremost, what happens with the survivors. Especially since the film ends abruptly with a substantial cliffhanger. You find out how Leslie’s Uncle Mike becomes entangled with The Doctor’s plot. Let’s just say that a majority of the unanswered questions from part one find closure. The question I get asked more than anything is, who is The Doctor? You find out exactly who he is in the first film. We’ve grown accustomed to a standard slasher reveal, so when a film challenges the status quo, some cinephiles are left blindsided. It might not be the most satisfying reveal for some, but it’s outside the box and I’m a fan of that. I can say we learn more about The Doctor, his personal life and his methods in the sequel. There’s more that deepens the mythos.
14. Your film work has moved from local productions to national digital releases and festival screenings. Has that changed how you think about who an independent film is made for?
Yes and no. You always make the movie you want to see. You hope others come along for the ride and enjoy that ride when it’s finished. But I won’t say I try to cater to specific demographics or agendas when I’m writing or even shooting a film. That’s not to say I haven’t paid attention to what works and what doesn’t. I try to keep those lessons close to the chest so when I write the next script, I’m cognizant of what will make an audience laugh versus groan or lean forward in their seat versus lose interest. You can’t appease all sensibilities, but there are lessons to be learned from a majority of collective opinions.
15. If someone wanted to trace your creative evolution through three projects, which three would you choose—and what would you want viewers to notice about the changes between them?
Honestly that’s hard to say because the first serious feature narrative I scripted Hallows Eve, was a horror-comedy. The problem is that film never found distribution, was barely covered by the media, screened at maybe a couple of festivals and is now languishing on YouTube. Fourteen years later I wrote another horror-comedy, New Fears Eve that’s been picked up by a major distributor, trended at number one on streaming services, is covered by major media outlets, screened all over the country including in the UK and is still being discussed. Now Volumes of Blood is the film that put me on the map and while I did create the overall concept, I was one of three writers and it’s an anthology. I’ve only written two narrative features. But regarding the films I’ve produced from conception to completion in Owensboro I would say watch Volumes of Blood, Volumes of Blood: Horror Stories, 13 Slays Till X-Mas and then New Fears Eve. They’re all on Tubi and there’s an obvious progression from cinematography, writing, scope and overall production value.
