Host Adam Charles interviews Steven Richards, a multi-talented filmmaker working in low-budget horror cinema. Richards discusses his career journey, production experiences, and the evolving landscape of independent horror film distribution.
Background and Career Origins
Steven Richards entered filmmaking around 2004-2005 after relocating from New York to California. Initially taking acting classes out of boredom, he auditioned for a local short film and, though he didn’t land the role, was brought on as crew. This connection led to ongoing collaborations with a core group of approximately four filmmakers, including directors Lance Paulin and Vito Trabucco (known for Bloody Bloody Bible Camp). Many of these relationships continue to the present day.
Key Film Projects Discussed
Slices (2005-2006) – An anthology horror film that emerged after a planned vampire feature fell through. Each collaborator contributed a segment based on their individual creative interests. Richards directed “Dead Letters,” which featured claymation sequences created by a five-person team over two weeks. The film secured distribution through Brain Damage Films’ Midnight Releasing division and became available on Amazon Prime, store shelves at FYE and Target, and international video-on-demand markets.
Werewolves in Heat – A low-budget exploitation horror-comedy directed by Lance Paulin, shot primarily in the desert. The film features Ron Jeremy and adult film actress Sarah Vandella in her first mainstream role. Production faced significant challenges when funding disappeared mid-shoot, requiring extensive script rewrites and recasting after some actors relocated. As of the interview, principal photography was nearly complete, with only an opening sequence remaining to be filmed.
Distribution Insights
Richards provides valuable perspective on the evolution of independent film distribution over nearly a decade:
- Initial Success: Slices was shopped to multiple distributors, including a long-shot submission to Lionsgate. Brain Damage Films/Midnight Releasing picked it up with only a week’s notice to deliver materials.
- Revenue Split: The distribution deal was 50/50, with the distributor first recouping costs for artwork, marketing, and quality assurance before splitting profits. While the film made money for the distributor, the filmmakers had not quite broken even at the time of the interview.
- Rising Standards: Richards notes that a film like Slices, which secured distribution in 2005-2006, would not meet current quality standards from the same distributor. The DSLR revolution and improved accessible technology flooded the market with content, allowing distributors to demand higher production values even from ultra-low-budget films.
- QA Requirements: Modern distributors now require filmmakers to pass third-party quality assurance tests (costing a few hundred dollars) covering audio levels, video signal standards, and broadcast tolerances before consideration—costs previously absorbed by distributors.
- Format Shift: Physical DVD distribution has largely given way to video-on-demand, which reduces costs associated with manufacturing, shipping, and shelf space.
Production Practices and Philosophy
Richards emphasizes the pragmatic, resourceful nature of low-budget horror filmmaking:
- Casting: Primarily done through personal networks and recommendations rather than agencies or Craigslist. The interview mentions cult figures like Ron Jeremy and Reggie Bannister being brought in through simple phone calls and previous connections.
- Crew Flexibility: Team members frequently wear multiple hats. On Werewolves in Heat, Richards served as cook (feeding 14 people for six days in the desert), cameraman, and post-production supervisor, while the sound guy was “shanghaied” into acting roles when cast members failed to appear.
- Target Audience: Richards frankly discusses designing films as products for specific demographics, particularly with Werewolves in Heat, which deliberately includes “lowbrow humor,” nudity, and gore to satisfy its intended audience.
- Stephen King Dollar Baby: The group also produced One for the Road, a Stephen King dollar baby film starring Reggie Bannister and produced by Tim Sullivan (2001 Maniacs). Per dollar baby restrictions, the film can only screen at festivals and cannot be sold or distributed online.
Personal Reflections
Richards emerges as a committed independent filmmaker who understands the business realities of low-budget horror while maintaining enthusiasm for the craft. He acknowledges the need to balance artistic vision with commercial viability, noting that films must ultimately function as products to sustain continued production. Despite the challenges—including nearly breaking even after years of distribution—he expresses satisfaction with the collaborative, learning-focused environment of independent horror filmmaking.
The interview concludes with Richards noting he had recently closed his side business selling Funko Pop vinyl figures (Asylum Hollywood) because it consumed too much time, allowing him to focus more fully on filmmaking.
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