5 Well-Known Directors Who Have Never Made a Horror Film… But Should
-
‘Hold the Fort’ Trailer Pits New Homeowners Against an Onslaught of Monsters
-
‘The Haunting of Pennhurst’ Exclusive Clip Trains Scare Actors For Historic Haunt in Tribeca Doc
-
‘Rich Flu’ Trailer – Wealth is a Death Sentence in Thriller from ‘The Platform’ Director
-
Eli Roth’s ‘Ice Cream Man’ Red Band Trailer – Kids Brutally Murder Adults This Summer
Within the horror genre, there exists a short list of directors who have left a lasting impact. Names such as Clive Barker, John Carpenter, Wes Craven, Alfred Hitchcock and George A. Romero are prime examples of horror directors who understood the core elements of what scares people and translated those fears into the most terrifying, genre-defining films of all-time.
Successful directors, regardless of the genre, work to attain a deep understanding of the human emotions we all experience in life and convey these emotions through the characters and story they are attempting to tell, all in order to make a meaningful connection to the audience.
This is by no means an easy task and often times, directors miss the mark and never fully create a story that is both compelling and driven by the emotions conveyed by their characters.
Here are 5 well-known directors who have never made a horror film, but that I argue could create a unique vision for the horror genre…
Wes Anderson
Wes Anderson made his directorial debut with the 1996 film Bottle Rocket, following its success with Rushmore (1998), The Royal Tenenbaums (2001) and most recently, the animated film Isle of Dogs (2018).
Anderson has defined his career through creating quirky characters, snappy dialogue and odd situations delivered through external narrative. Most of his films can be categorized as comedy/dramas, but his knack for creating quirky characters and odd situations could be beneficial in creating a truly unique horror film unlike anything we have ever seen before.
Richard Linklater
Richard Linklater is a director who cannot be defined by one genre. He has shown great versatility as a director with films such as the cult coming-of-age comedy classic Dazed and Confused (1993), the uniquely bizarre sci-fi film A Scanner Darkly (2006), and the coming-of-age drama Boyhood, which was released in 2014, but was filmed over the course of 12 years with the same cast.
Linklater is a master craftsman with character development and creates relatable characters that connect with the audience. His ability to create a grounded story could lend itself nicely to the horror genre in creating a film that terrifies people in a very real way.
Joel and Ethan Coen
Collectively known as the Coen Brothers, Joel and Ethan Coen are best known for cult classics such as Fargo (1996), The Big Lebowski (1998), and No Country for Old Men (2007). Similar to Richard Linklater, the Coen Brothers have shown great versatility in their directing efforts. However, unlike Linklater, the Coen’s are no strangers to portraying moments of extreme violence in their films (the woodchipper scene from Fargo; the motel shootout scene from No Country for Old Men).
The Coen Brother’s ability to tell compelling stories occupied by truly unique characters that have the potential to say and do anything at any given moment combined with their ability to use horrific, graphic violence as it relates to further exploring a character or drive a story arc would make for a truly special experience that could rival some of the best horror films to date.
Paul Thomas Anderson
Paul Thomas Anderson initially made a name for himself after the critically-acclaimed success of his 1997 film Boogie Nights. He has since continued to build on that success over the course of the past 20 years with films such as Punch-Drunk Love (2002) and There Will Be Blood (2007).
Anderson has never been one to align himself with one genre exclusively, but his consistency lies within his characters. His protagonists all tend to have inherent flaws that lead to self- destructive behaviors. His films are defined by the demons that lie within ourselves rather than external forces.
Anderson’s ability to focus on the flaws we see in ourselves could be the focus of a horror film that makes us reevaluate our own mental health.
Denis Villeneuve
Denis Villeneuve has made quite a name for himself within the Hollywood landscape over the past 5 years. Best known for sci-fi films such as Arrival (2016) and most recently Blade Runner 2049 (2017), Villeneuve has crafted a directorial career that thus far has touched upon the genres of sci-fi, crime/drama, and psychological thriller, with each film implementing specific elements of horror throughout.
Villeneuve has shown an innate ability to take a simple story structure and layer it in a way that keeps the audience engaged and guessing as to where he is going to take them next. He has a deep understanding of the visual aspect of filmmaking and uses it to create unique and often intense scenes that utilize symbolism and require the audience to draw their own conclusions rather than be told what to think. A psychological horror film would be right within Villeneuve’s wheelhouse and, if ever brought to fruition, could have a lasting impact within the horror community.
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.

For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
![]()
For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!





You must be logged in to post a comment.