Interview: P.J. Starks – Writer/Director of New Fears Eve

P.J. Starks, the prolific American film writer, director, producer, screenwriter, and editor spoke with us about his latest film, New Fears Eve. In this interview, we go in-depth on the details of the film, as well as his career, what we can expect in the future, and more.

Read our full review of New Fears Eve here.

Hello P.J. Thanks for taking the time to speak with me. How are you right now and are you happy with how 2026 has been treating you so far?

I appreciate the opportunity. Overall, I can’t complain. Things have been going well. Very busy but good.

What’s been particularly exciting about the year so far?

I’ve made some new connections. Rhonda Shear being one of those. I grew up watching her on Up All Night, which has returned with a vengeance. Our last film 13 Slays Till X-Mas aired during one of their recent Christmas specials. It was so surreal. Since then, her and I have been texting off an on. She’s nice and very enthusiastic. It was also cool seeing my friend Jessa (Jupiter Flux) on there. Jessa is killing it. I’m headed to HorrorHound soon where a couple of films I produced will be screening. Rhonda is attending as a guest, so it gives me an excuse to say hi.

So, New Fears Eve. Your latest film that combines slasher horror with dark comedy and has been well received overall. Tell me, are you satisfied with the response to the film so far and have they matched your expectations?

Since it released this past December, the reviews have been pouring in from both horror fans and critics. Broadly speaking they’ve been very positive. It’s always a good feeling when you put something new out and it resonates with audiences. Of course, there are those who don’t care for it. You can’t please everyone. Nevertheless, I’d say the reaction has been overwhelmingly satisfying and exceeded my expectations. Mostly because I tend to think people will hate it [laughs].

Have you noticed a theme amongst commentators, reviewers, and watchers regarding the film? An aspect that the majority seem to like or dislike?

The kills. That seems to be the highlight for fans of horror. There are over forty death scenes in the film. The effects are all practical too, albeit a single digital blood shot that I challenge someone to find. It’s been nice reading how surprised some slasher fans have been with the more creative kills. As a gore hound myself, I’m stoked that we could give them something new and original in that department. Or effects team Stephen, Isa and Blaze did an awesome job. It can be a mixed bag on the other elements of the film, but most people seem to enjoy the raunchy humour reminiscent of American Pie or Porky’s. What I’ve found interesting is some of the more negative reviews focus on how my writing style is similar to that of Kevin Smith or Tarantino as though it’s something to be ashamed of. I’ll wear that accolade as a badge of honour any day.

When you first set out on the path to create the film, were you conscious of the fact that there are very few New Years related horrors?

Absolutely. I even touch on that in the script. That sequence specifically has become divisive for genre fans due to the dialogue dumping on some beloved New Year’s horror films. I’ve had a slew of people call me out. What’s ironic is it’s a farce as I’m a fan of the movies the character discusses. I used that character to portray an archetype of the horror fanatic who often comes across as hating scary movies more than loving them. It raises the question: if that’s the attitude, how can they truly consider themselves a real fan of the genre? I had fun playing with that stereotype and it’s created some interesting results.

Where did the idea for the film, in particular the setting and the look of the killer, come from?

I was driving one day and the title just popped into my head. Then I asked myself, “What’s the story that goes with that title?” I fleshed it out over time. I felt a mandatory office party would be the perfect set piece for a third act massacre. The look and modus operandi of The Doctor came from seeing plague doctors all over social media. They were heavily back in the zeitgeist, and I thought a stylized version of that would make an iconic looking slasher. I’m a fan of true crime, so I married the plague doctor with some of the most well-known visual attributes of Jack the Ripper. The red gloves and bright red vest gave him some distinction. Overall, he’s almost exactly how I pictured the character in my head.

Talk to me about finding the right cast for the right characters. Was it an easy process and was the experience working with such a varied cast, a good one?

Some of the actors in the film were ones we’d worked with before such as Jay Woolston, Alyssa Rhoads-Wertman, Jason Crowe, Roni Jonah and Sonya Delormier. They’re all insanely talented and I had them in mind for those roles when writing the script. The leads and who would play The Doctor was another story. We had no idea who would play those parts. We held open auditions and that’s how we found Lily-Claire Harvey, Matthew Tichenor, Collin Horn and Jesse McDonald. Turner Vaughn was brought to our attention, so we went and watched him as the lead in Sweeney Todd. That sold us on him as an actor. We offered each of them their respective roles. At this point I can’t image anyone else in those parts. They each brought something unique to the characters and really made them come alive. Jesse did so well in his audition I actually wrote in the role of Ned so he would have a part outside the mask. That’s how much I loved him as an actor. With the actors, it was a good working relationship throughout production. Eric and I have a laid back but equally professional way of running our sets. It’s a lot of work, but it doesn’t have to feel that way. Regarding any setbacks, we did have to replace one of the supporting roles a few weeks into filming. That was the only hiccup. Other than that, it was a great time working with the cast.

Do you have a favourite scene or sequence in the film? If so, what is it and why?

I have several that stand out for me. The firing scene when Jeffrey and Dave, who play head of HR and the boss, square off because Jeffrey says, “I hope you die!” That whole back and forth is priceless. Jeffrey is well-known as the creator of the Final Destination franchise, but he rarely gets the chance to show off his acting chops. He asked if there was a role in this, so I tweaked the part of Norman for him. He did an awesome job too. Another was the Killdo scene. It was late at night. Everyone had the giggles and when you throw a self-lubricating adult toy wobbling around it just gets worse. That was a very memorable night. Another was the first aftermath scene with all the law enforcement vehicles and ambulances. That whole scene looks incredible and sells the scope of how big the movie is. I was on cloud nine filming that.

Has the final film matched your initial vision for it?

In the past I’ve always written the stories based around people and places I know we have access to. With this screenplay, I wrote it the way I wanted it to be with the idea that we’d figure everything out later. I really had no idea what office we’d shoot in, where the warehouse “Kill Room” would take place, if we could make the big downtown chase scene happen. We had somewhere around nine months of pre-production to coordinate all of this. I called in a lot of favours because it’s the most ambitious project we’ve undertaken. The amount of community support we got from local businesses and entrepreneurs was astounding. That includes organizations like Musick Studios, Asylum Tattoo and Art Gallery, the Owensboro Police Department, Kentucky Wesleyan College, Owensboro Community and Technical College, Daviess County Convention and Visitors Bureau, Foreman Watson Holtrey, The Pub on Second, and so many others. I cannot thank them enough for believing in our film.

What were some of the major challenges you faced in making the film a reality?

Truthfully the answer is very boring. The process of making this film was far smoother than it had any right to be considering the scope of what we were trying to pull off. This biggest set back was having to replace an actor. Other than that, it was maybe rescheduling a few scenes due to illness or filming outside in the elements. The night we filmed outside my office which doubled as the exit and parking lot of Coscarelli’s bar it got down to seventeen degrees but because of the wind chill it felt like nine. That scene got filmed in portions because we had to stop every twenty minutes to go inside and warm up.

If money had been no issue, what might you have done differently in the film?

Strangely enough, we raised more money than anticipated for this film. Because of the crowd funding support and local business sponsors we managed to make the film we wanted to make and then some. All the budget is on the screen, and I think it shows. Now if time had not been a factor, then there’s plenty of things I might have done a little differently. More coverage and honestly, more gore.

Did you set yourself a New Year’s resolution/goal? If so, what was it and how is it going? If not, why not?

I don’t do resolutions. They’re never kept and usually become an afterthought. I take one goal at a time.

Of all that you have created, which project do you wish got more attention?

This is going to sound weird but New Fears Eve. I know what you’re thinking, we’re still out of the gate on the release. And please don’t get me wrong, this project has gotten more coverage than any project we’ve done previously but this one is very close to me in many ways. It’s a very personal script. A lot of amazingly talented creatives worked hard to bring this to the screen and I’m just wanting it to do well. I’m incredibly fortunate to get the press I’ve gotten for someone who’s not a true success, but I think this film has a lot to offer the genre and I’m still waiting for it to break out.

What do you see as the biggest challenge you’re going to have to overcome to ensure your future creative goals are met?

One of the biggest challenges we face is gaining recognition from the City of Owensboro. Not just from a fiscal standpoint but as a viable source for inspired people to work together to create. Obviously, there will always be a financial component, but when you struggle getting the governing body to look your way when you’re spending fifty thousand plus dollars locally you begin to ask yourself, “what do we have to do to get their support?” They’re continually looking outward, wanting to bring outside talent to our community when Hollywood is literally in their own backyard. Rather than waiting for the industry to arrive, I believe there’s a real opportunity to invest more time, resources, and infrastructure into the creatives who are already here. Supporting homegrown projects like ours can help strengthen the local film ecosystem while also making Owensboro an even more attractive place for the industry to grow. The community at large has been incredibly welcoming, supportive, and accommodating. Ultimately, the greater challenge has been getting city leadership to fully recognize and embrace what we’re building.

What’s an aspect of filmmaking that you think you will always love?

Collaborating with other artists. That’s my favourite part of the process. I enjoy other aspects like writing and editing, although they can be cumbersome. For me being on set working directly with the actors and crew is what makes these endeavours so much fun and worthwhile. I think that’s why I like producing so much. In a lot of ways, it’s problem solving, but it’s also being in the trenches. That’s where a big chunk of the movie making happens.

Likewise, what’s an aspect of filmmaking that continues to be tedious and you suspect will never change?

Pre-production because while there is a great deal of creativity happening it’s full of logistical nightmares like scheduling and fund raising. I absolutely hate them both. I can’t say either one will never change because tactics we’ve used to fund our films have changed over the years, but both will always suck no matter what [laughs].

As a horror creator, what scares you?

I don’t frighten anymore when watching movies. I’ll be on edge or uneasy, but never terrified. My wife on the other hand jumps at literally anything. She got scared watching a Disney movie once, so I live vicariously through her and that’s awesome.

If you want to look at this question in a more philosophical way, I guess dying before I truly leave a mark on the world. I mean; we’ll all be forgotten at some point but if it happens within the blink of an eye did you really discover your purpose? I know I’ve found mine, but will anyone really remember very long after I’m gone?

What’s next for P.J. Starks and what are the chances of us seeing New Fears Eve 2 at some point in the future?

I’m currently producing several other projects in various stages. The reboot slasher The Boy from Below is about to have its world premiere at HorrorHound this month. The film has secured distribution and will be coming out sometime late this year or early 2027. Another is The Barn Part III, which is the final instalment of Justin Seaman’s Halloween throwback gorefest. I’m producing it with my Blood Moon Pictures cohort Eric Huskisson and we’ll both be at the official Pittsburgh Premiere on Saturday, May 23rd. The other two are also slasher films. I told you it was my favourite subgenre [laughs]. The Last Sleepover is a revenge-based slice and dice picture that also features Felissa Rose. We’re in the process of securing the third block of filming. The other is a short horror comedy titled Half-O-Ween by Stephen Wolfe and Tim Robinson. It’ll start filming soon in the Los Angeles area. They wrote a fun and irreverent script. Plus, it has Felissa and she’s great.

[laughs] I would be lying if I said I didn’t have the whole sequel to New Fears Eve fleshed out. Eric and I would absolutely jump at the chance to make a continuation. I wrote the first film with a trilogy in mind, but a franchise would be even better. It really depends on how well this one does. By and large the reviews have mentioned wanting to see a part two. I feel like it would be a missed opportunity if it didn’t happen, but my opinion is biased. The story is bigger and more layered. The infantile one-upmanship is dialled to eleven. The kills are more gruesome and elaborate. Any leftover questions from the first film that irritated viewers who require every mystery neatly gift-wrapped will get a bit of that closure. We have a lot of cool stuff instore for a follow-up. Because the scope is even larger that means the budget is also more extensive. We don’t see how crowd funding will cover our financial needs, and we’ll more than likely be searching for investors.

If anyone is interested in helping us get the sequel off the ground, you can hit us up at bloodmoonpics@gmail.com. I’m on Facebook and Instagram if anyone wants to reach out there. You can also find out all about our latest and previous work at www.bloodmoonpictures.com.