YouTube creator, Director, and Producer J. Horton is known for crossing genre boundaries with his creative takes on stories and for getting the most out of each and every scene.
I was excited to sit down with him to talk about his latest feature, A Hard Place, which amps up the scares and the gore.
We go over a lot of storytelling, like worldbuilding, character development, and tension, in our enlightening conversation.
Let’s dive into the interview.
– YouTube
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No Film School: Can you walk us through your creative process as a director? How do you begin to envision the world for a film like A Hard Place?
J. Horton: Absolutely. When I’m approaching a project like A Hard Place, my creative process starts with grounding the chaos. A film like this, where you’ve got larger-than-life monsters, A LOT of CHARACTERS, and insane stakes, needs a world that feels real. So, step one is nailing down the tone. I ask myself: What’s the heartbeat of this story? For this movie, it is survival under the craziest, most relentless circumstances. That’s the backbone.
From there, I dive into the setting. In A Hard Place, it is practically its own character. Whether it’s a snow-soaked landscape or a claustrophobic cave, the location should amplify the tension and push the characters to their limits. I also think a lot about texture—how the world feels. The grit under their nails, the sweat dripping down their faces, the sound of something massive breathing just out of frame. Those little details make it visceral.
Next, I zero in on the characters. People show their truest selves when they’re scared out of their minds, so I make sure every character has layers. Yeah, they’re running from monsters, but what’s eating at them internally? Who do they become when their backs are against the wall? The actors need to feel those stakes so the audience does too.
And then, of course, the monsters. I’m not just thinking, What does this creature look like? I’m thinking, Why does it exist? What’s its purpose in this world? How does it move, hunt, think? Every monster needs a personality. You’re not just scared of what it can do—you’re scared of what it wants.
Now, when it comes to larger action sequences I like to storyboard. But, I’ll be honest, for A Hard Place, it just wasn’t practical. The production was so fluid and chaotic that locking myself into pre-drawn plans would’ve been counterproductive. On smaller films like this, you don’t always have access to locations in advance, and that makes storyboarding feel a little useless, in my opinion. Instead, I leaned into the unpredictability. It’s like jazz—you’re riffing off the circumstances, the location, and what the actors are bringing to the table that day. That kind of adaptability keeps things fresh and can lead to moments you could never plan for.
And, hey, once I’ve got all that down, it’s about trusting the team to bring it to life. Filmmaking is a collaboration. You’ve got to know when to lead and when to step back and let the magic happen. That’s where the best moments come from.
NFS: I’d love to hear more about your use of the theatrical roadshow distribution approach, what that offers independent filmmakers like yourself, and what audiences can expect.
JH: Sure. During COVID, a lot of independent theaters were starving for content. And honestly, that’s still the case today. There’s a void that smaller independent films can fill, but the challenge is convincing theaters to take a chance on these smaller movies. Most theaters want you to rent the space outright, which can be cost-prohibitive for indie filmmakers. For me, it was important to approach this in a way that’s more business-friendly—offering a revenue split of the box office instead of upfront rental fees. Some indie theater owners might scoff at that, but with a little hustle and the right pitch, it’s definitely doable.
That’s just one piece of the puzzle, though. The real money in these roadshow screenings often comes from merch sales. You’re talking posters, shirts, signed DVDs, and whatnot. But here’s the catch: the costs for producing that merch falls on us, and that’s a gamble. Add in the travel and lodging to attend screenings, and you’re taking on a lot of financial risk. It’s not for the faint of heart.
So, why do it, then? Because it’s an opportunity to connect directly with my audience. It’s fan-base building. It’s not just about showing them a movie; it’s about creating an event. When you’re there in person, talking to folks, selling merch, and building a community around the film, you’re doing more than making money—you’re giving people an experience they can’t get at home streaming something on their couch.
And let’s talk about the streaming world for a second. It’s an ever-changing landscape, and as indie filmmakers, we’re often at the mercy of platforms that hold all the cards. If we’re not out there taking risks, we’re giving up control of our work. The theatrical roadshow approach is a way to take some of that control back. It’s about betting on yourself and your ability to engage with audiences directly.
For filmmakers, the roadshow model is both a business move and a passion project. For audiences, it’s a chance to discover something unique—to be part of an intimate, energetic experience that goes beyond just watching a film. It’s about community, conversation, and celebrating independent art in a way that feels personal and special.
NFS: How did your experiences on previous projects like Craving and The Sin Choice prepare you for A Hard Place?
JH: Well, I feel like every movie you ever make leads to the one you’re doing. It’s all connected in some way, and the lessons you learn on one project inevitably shape how you approach the next. Specifically with Craving, it was the biggest cast I had worked with up to that point, and that experience was invaluable in preparing me for the huge ensemble cast of A Hard Place. When you’re working with actors, no two come at it the same way. They have different needs, different approaches, and each one requires a slightly different type of directing. I found that both intimidating and invigorating. Honestly, if there was one thing that excited me most about A Hard Place, it was the opportunity to work with such a dynamic and talented cast.
Craving also prepped me for the intense special effects work that we took to another level in A Hard Place. The SFX in Craving were already ambitious, but A Hard Place demanded more—bigger effects, more complex setups, and faster turnarounds. Luckily, I had Robert Bravo, our SFX guru, to guide us through it all. His expertise made those moments come to life in ways I couldn’t have imagined.
And then there’s the experience of managing chaos. Craving taught me how to stay grounded when things get unpredictable. On a film like A Hard Place, where the production was so fluid and chaotic, that ability to adapt on the fly was critical. It’s about staying calm, keeping the crew focused, and finding creative solutions to problems as they arise.
Ultimately, every project builds your confidence and broadens your perspective. You take the lessons, the mistakes, the triumphs, and you carry them forward. For me, Craving wasn’t just a stepping stone—it was a foundation. It gave me the tools to tackle the challenges of A Hard Place head-on and make something I’m truly proud of.
CREDIT: Impact24
NFS: What was your collaborative process like with co-writer Michael J. Epstein? And how did you work with stars Felissa Rose and Lynn Lowry to bring their characters to life?
JH: I wrote the original script many years ago, but when I decided to dust it off for production, I felt it needed a tune-up. That’s when I brought in Michael J. Epstein. Michael is a fantastic collaborator, and he brought a fresh perspective to the story. He wasn’t just tweaking things; he was enhancing the narrative, sharpening the dialogue, and adding layers that made the script stronger overall. He came up with the Texas Chainsaw Massacre-esque dinner scene. Once he completed his draft, I went back over it. What we ended up shooting was this collaborative blend, and I think that made the story richer and more dynamic.
When it came to working with Felissa Rose and Lynn Lowry, it was all about tapping into what makes them such incredible performers. Felissa has this infectious energy and charisma that lights up the screen, but with Henrietta, we had to tamp that down. We had a lot of conversations about her character’s motivations and backstory, and she brought so much nuance to the role. With Lynn, it was about leaning into her natural gravitas. She has this commanding presence, and we worked together to bring that to the forefront of her character. Both of them were incredibly generous with their ideas and open to trying new things on set, which made the whole process a true collaboration.
For me, the key to working with actors is listening. I’m not the kind of director who dictates everything. I want to create an environment where actors feel safe to experiment and explore. Felissa and Lynn both embraced that, and I think it shows in their performances. They gave the kind of depth and authenticity that elevates the entire film.
NFS: What was the biggest creative challenge for you during the production of this film?
JH: The biggest creative challenge for me was managing the tone. The story bobs and weaves through horror, action, comedy, and drama, sometimes all within the same scene. Balancing those shifts and making them all feel part of the same whole was no small feat.
I had to constantly ask myself, “How do I keep the audience engaged without it feeling jarring?” A lot of that came down to pacing, performance, and how we shot the scenes. For example, in a moment where a tense horror sequence gives way to an absurd comedic beat, it’s about making sure the transition feels earned. You have to ground it in the characters—their reactions, their dialogue—so it doesn’t feel like the film is zig-zagging just for the sake of it.
NFS: What’s next for you? Are there any upcoming projects or particular genres/spaces that you’re eager to explore?
JH: Next up, I’m completing my unofficial monster trilogy that started with Craving. A Hard Place was the second, and Apex Predator’s Club will be the final chapter. They’re not directly related, but I think of them as spiritual sequels where each film gets progressively bigger in scope. Apex will be the largest by far—it’s the biggest movie I’ve ever made.
The concept is kind of a riff on The Most Dangerous Game. Instead of rich folk hunting poor folk, it’s rich folk hunting different monsters. It’s a wild, high-stakes premise with tons of action and spectacle. I’m incredibly excited about it because it lets me explore not just bigger set pieces, but also the themes of power, greed, and survival on a whole new level.
Prepping for a film like this is a massive undertaking, and we’re starting that process this spring. It’s going to be a challenge, but that’s what makes it so exhilarating. I’m eager to push my limits as a filmmaker and deliver something that’s both thrilling and thought-provoking. Stay tuned!
NFS: Is there anything else you’d like to share with our readers about you and your work?
JH: We need help, and you can be a part of it. The best part? It doesn’t cost you a thing. Once you see the film, head over to IMDb and give it a fair rating. If you have a few extra minutes, leave a review. Prefer platforms like Letterboxd or Rotten Tomatoes? Do the same there. Every bit of feedback and visibility makes a difference.
Beyond that, talk about the film on social media. Share the trailer, the poster, or even just your thoughts. Word of mouth is incredibly powerful for indie films like this. These small actions—rating, reviewing, sharing—might seem inconsequential, but they’re game-changers for independent filmmakers trying to compete in a crowded market.
If you’re passionate about supporting independent art, this is how you can help keep it alive and thriving. Every little bit counts and it means the world to us.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
