Independent horror filmmaker P.J. Starks is back with New Fears Eve — a blood-soaked slasher now streaming across multiple platforms after its Cineverse release. We talked with Starks about the film’s origin, the biggest production hurdles, his favorite practical-effect kills, and what’s next on his indie horror slate.
What was the original spark for New Fears Eve — and what did you want the film to feel like?
P.J.: There was no fully realized concept originally other than the title. Later I conceived it as another anthology, then reworked it into a single narrative feature. Once the idea came together, I didn’t want it to be a throwback per say but a slasher that could stand on its own merit. That’s not to say it doesn’t homage other more well-known classics in the sub-genre, because it does. I love nuance and tipping a hat to the films that influenced me. However, I did want it to feel more like a 90s slasher than something more modern.
What’s the “elevator pitch” for someone who hasn’t heard of it yet?
P.J.: Three best friends are all preparing for a mandatory New Year’s Eve work party that none of them wants to go to. Unbeknownst to them they’re being stalked by a sadistic serial killer known as The Doctor, who is being hunted by the police and FBI. He follows them to the party where the bloodshed escalates and the body count rises.
What was the biggest production challenge you ran into, and how did you solve it?
P.J.: Typically, films are logistical nightmares, but this production ran surprisingly smoothly. We had mostly small hiccups with scheduling, or someone was running behind. We did have to replace a supporting actor after filming had begun and needed to reshoot a couple of scenes, but that was the largest issue. The biggest challenges were battling the elements like the heat or there was another scene we filmed late at night, and it was nine degrees outside. Thankfully, by the grace of God we were able to do most everything we wanted on this film.
Was there a specific scene that was the hardest to pull off (logistically or creatively)?
P.J.: Several scenes were larger in scope or had big set pieces, so they came with their own levels of difficulty. There’s a Kill Room scene where a room full of people are murdered. We had to build a bunch of tables that were made to hold dummies, while the main kill table had to hold an actual person as well as have all the bells and whistles to show the gore. The aftermath scenes are another example as they featured law enforcement vehicles, ambulances, and a fire truck. Those scenes required a bunch of extras portraying paramedics, cops and FBI agents on top of having actual medics and police in the scene. There was a lot of planning and coordination to pull off those moments.
What was your approach to balancing scares, tension, and character moments?
P.J.: When I wrote the script I couldn’t say I was trying to consciously balance all those elements. I approached the story in the most organic way possible and injected the humor where it felt best. I can say I wanted most of the horror to be taken seriously, even when it was over-the-top. The Doctor was also, sans maybe two times in the script, to be taken seriously to keep his menace and threatening nature at the forefront. A lot of the character moments are taken directly from my real life. If you’ve seen the film, you might not immediately realize how personal this screenplay is to me but beneath the blood and sophomoric one-upmanship, there’s drama and a deeply rooted story woven throughout.
Any practical effects / DIY tricks you’re especially proud of?
P.J.: Stephen Hodke, Isa Morales and Blaze Bolden were our special effects team, and they did a great job considering the time and budgetary constraints. The kills I’m most proud of are the toilet disembowelment, the death by sex toy and one character who gets her head smashed against a plate glass door until her face is a bloody pulp.
How did the Cineverse acquisition happen, and what did that change for the release?
P.J.: Jeffrey (Reddick) was a producer on the project and championed it the whole way. He was integral during the post-production phase. Jeffrey got the movie into the hands of Brad Miska, who then got it over to Cineverse. The rest is horror history.
What do you hope horror fans talk about after watching the film?
P.J.: If you have fun watching the film, that’s all the matters to us. My producing partner, Eric and I both have been continuously pleased with the reaction to the movie from both critics and horror fans. It’s been interesting to see what someone pulls from their experience watching NFE. Some have picked up on the deeper meanings, some have had a great time picking up on or looking for the easter eggs, others have fixated on the gore, the comedy or a bit of both. Overall, it’s been a fun ride seeing how much the film has resonated with viewers.
What did you learn making this feature that you’ll carry into the next one?
P.J.: I’ve always said that every film is basically learning what not to do next time. If anything, it’s about strengthening coordination between departments, building better communication, and finding more effective ways to streamline the process. A lot of this can happen by finding the right people for new positions not previously on our sets and trusting them to help make a better product. That’s what we’ve always done and will continue to do as we move into other productions.
What’s next for you — anything you can tease?
P.J.: I have an idea for New Fears Eve 2, so we’d love to keep telling this story. The goal is a franchise, but the budget will be more substantial, so we need to find that rich doctor with expendable income who also loves scary movies [laughs]. Eric and I are producers on The Barn Part III that is preparing for it’s Pennsylvania premiere. There’s also a finishing funds campaign and if anyone is interested, they can check it out here:
I’m also serving as a producer on The Last Sleepover being shot around the Louisville area. It features Felissa (Rose) and Lisa Wilcox. It’s a revenge slasher that I’m excited for everyone to check out. We’re about to get back on set to finish out filming, so please keep your eyes peeled for that. Lastly, I’m producing another film with Felissa that’s going to be shooting this year in LA called Half-O-Ween. I’m always on the lookout for other potential films to get involved with, but those are the active movies I’m working on.
