Interviews
‘All Fun and Games’: Writers-Directors Ari Costa and Eren Celeboglu Talk Coming-of-Age Horror [Interview]
“It’s all fun and games until someone loses an eye.” How many of us grew up hearing this from parents or babysitters, then reluctantly agreed to be a little more careful? Unfortunately, that’s not an option for a trio of siblings living with their single mother in Salem, Massachusetts. On a night stuck babysitting their younger brother Jo (Benjamin Evan Ainsworth), Billie (Natalia Dyer) and Marcus (Asa Butterfield) find themselves caught up in a deadly game dating back to a shocking incident in the town’s forgotten history. Once the sinister die has been cast, anyone caught up in the horrific festivities must keep playing. The only way out is death– and even that might not break the spell.
All Fun and Games is a terrifying horror film, but the partnership behind it comes from the world of comedy. Writers and directors Ari Costa and Eren Celeboglu first met on the set of Community and quickly bonded over a shared love for horror. In a conversation with Bloody Disgusting’s own The Boo Crew, Costa and Celeboglu share their earliest experiences watching scary movies, the surprising connection between humor and fear, and the seeds that eventually blossomed into their feature film debut. This dynamic creative team dished on the emotional core of All Fun and Games, the collaborative spirit behind Butterfield’s troubled character, and the surprising inspiration for the film’s cursed knife.
The heart of the film is a Coming-of-Age story.
When asked to describe All Fun and Games using only one word, Celeboglu says “trauma,” while Costa replies with “hope.” These two opposing forces which the filmmakers describe as “two sides of the same coin,” combine to create a touching story of adolescent fear.
Describing the genesis of the story Celeboglu says, “We really wanted it to be a coming of age story … wrapped in the subgenres of possession and slasher. So we dug deeper into the backstory of the demon which was this idea of a witch in Salem and her son. We tried to find these echoes and parallels into our family in the present. … It’s such a metaphor for life and for childhood. You learn by playing. You learn by getting left out. You learn by getting bullied. Games are dangerous. Our parents can’t always be around to protect us.”
Costa remembers finding common ground with one of the story’s youngest characters. “I think, for me, Jo was my entry point to the movie, you know, coming of age during this time. This is when I became obsessed with horror movies. My past, my sibling, and then the dynamic with my mother isn’t that different from what’s on the page. So, I really think that the heart of the movie is what appealed to me.”
The film also touches on the difficult elements of childhood and the ways we learn to grow from pain. Celeboglu expanded on this element of the film saying, “Childhood is beautiful, but it’s also really ugly. I think, for me, the real duality of the drama felt very, very real and it felt very emotional. I’m really proud of the ending of the movie, because we come back to reality. You get this huge emotional wallop at the end that a lot of movies skip out on at least particularly in this genre. It’s like, ‘Oh, no. Everything’s fine.’ Or it’s a scary ending. We had those, but when we landed on this, it really made it all worthwhile. For me, it was this idea of the family just trying to get through it and these kids just trying to find their way in the world.”
Asa Butterfield pulled out all the stops to portray the spirit of a demonic child.
The sinister game begins after Jo finds an ancient knife made of bone and carved with a sinister invocation. Hearing whispers from these cursed artifacts, Jo finds himself possessed by a demon hell-bent on playing deadly versions of childhood games. Hoping to protect his little brother, Marcus soon becomes the vessel for this angry spirit. The tricky role required Butterfield to essentially play two versions of the same character: the real Marcus, and the centuries-old spirit of Daniel, the demonic source of this deadly curse. Costa remembers Butterfield’s enthusiasm for this tricky transformation and the collaboration that brought this complicated villain to life.
Costa: Asa was gracious enough to meet with us and he had a blast just talking about the character. He was trying things out over zoom with us. We could tell that he was the guy just because he wanted to play. He was open to trying everything. And I think for Asa, it was a big exploration. It was first like, “Where does the mania come from? Where does the danger come from? Where does the chaos come from?” And then also thinking about who the demon is. The demon is a scared child who was tortured and forced to play these games that he now inflicts on other people. “So can we still find that child in my portrayal of the demon like the twisted way I might smile, the way I might talk or what my eyes are doing?
Also, we had this local actress, surprisingly, who played the demon Daniel. She wore a fully prosthetic mask of a boy’s face that we inflicted all this damage onto. But they collaborated on how he might walk because some of his toes are chopped off. How he might talk because he’s got a slit throat. They really collaborated on crafting the way the demon might move, and you’re just figuring out how to embody that. Asa had a particularly tough job by playing Marcus not possessed which is something that he’s not done before to play this conflicted teen character who is full of rage as a result of being abandoned by his father. He uses his fists and violence to get his aggression out. And then, obviously, [playing] the demon is a whole other thing. So, it was particularly tough for him the whole shoot. But he was a true gentleman and just an amazing collaborator.
The film’s look was inspired by German witchcraft and The Evil Dead.
An opening scene nods to the film’s famous setting and the proliferation of witch-themed attractions throughout the town. However, Billie notes that most people aren’t aware of Salem’s full history. Many stories have simply been forgotten or intentionally hidden over the years. Aiming for authenticity in bringing this Salem family to life, Costa and Celeboglu turned to Production Designer Diana Magnus to help them develop the world of All Fun and Games.
Celeboglu: Diana Magnus is wonderful. She’s a production designer from Toronto. When we met with her, what’s always a wonderful thing is her references were not movies. They were art and photographs and architecture, and history. The vibe of it was just like, “Whoa, okay, that’s our movie,” right away. She was always coming at it from a place of stuff within the house. For instance, she was like, “Well it’s Salem, and it would have been these German families, and this German heritage, and German witchcraft.” So there’s all this kind of stuff that is layered into the house, whether it be antlers, and horns, and sayings, and chairs and a style of chair all through the kitchen. She was layering all the way back to the beginning of Salem into it. She was also just so creative with responding to the things that inspired us. Ari and I, we’re so obsessed with wallpaper, both from The Shining and Prisoners and these movies that make you feel like you’re in a fever dream.
Magnus also had a hand with designing the film’s macabre knife along with prop master Solmund MacPherson.
Costa: Eren and I had this idea that the knife should be made from Daniel’s femur. Basically once he died, his mom took his bone and carved this knife out of his bone. She put these incantations on the knife to sort of draw him out and then put it on the Puritan’s windowsill that night so they would have to do battle with him forever. The knife was something that we had many different iterations of. It’s so cool to have what we think is an iconic prop that has to do with your movie. Honestly, as a horror fan and as a genre fan, to have that almost museum piece is really, really cool. Something like that to represent your movie.
Celeboglu: The knife is definitely a grandkid of The Evil Dead knife which is the granddaddy of those kinds of bone knives. I mean, it’s a lot crazier than our knife, but you know, next time we’ll do the skull sword. [Laughs]
Costa: Even the details of the knife like on the round bone at the top of the femur is Daniel’s face with the mouth open and an X is carved into it. So there’s those sorts of fine details that come into play, which are really cool too.
All Fun and Games is now available to rent. Watch it tonight!
Nothing is the same when two crewmates return to shore in Rose of Nevada, the latest by Enys Men filmmaker Mark Jenkin.
Time and reality blur for stars George Mackay (Wolf, 1917) and Callum Turner (Green Room, “Neuromancer”) in the hallucinatory time travel mystery releasing in New York and Los Angeles theaters on June 19, 2026.
But this isn’t your standard time travel movie.
Rose of Nevada bends time and genre in its exploration of Cornish identity and community, upending the lives of Nick (MacKay) and Liam (Turner). There’s a listless, dreamy quality to the time travel, and for inspired reason: Jenkin approaches it like a haunting.
While time travel was on his mind early in the writing process, Jenkin’s partner and collaborator asked a question that unlocked Rose of Nevada and inspired the filmmaker.
Jenkin explains, “I remember saying to Mary [Woodvine], my partner, who’s in the film, I said to her, ‘God, it really seems like I’ve fallen into this thing of either making films about ghosts or films about time travel,’ and then she said to me, ‘Yeah, but aren’t all ghost stories just time travel films, and aren’t all time travel films just ghost stories?’ And then I thought, ‘Oh, great. So I’m not making two types of films. I’m actually always making one type of film.’ But that was ultimately liberating because I thought there’s a nice gap or a crossover in the perception of genres, there’s a lot of room to play and to be free within that.”
“Once I’d abandoned the idea that I was going to master quantum physics in any academic sense,” the filmmaker continues, “It was incredibly freeing because I thought, ‘Well, I can just set my own rules here,’ and it really doesn’t matter what the rules are as long as you stick to them. You can’t bend them for the sake of the plot or for the sake of a character arc or something. You have to establish those rules upfront and stick to them, which made me really think I’ve got to limit the time travel element. This film can’t be about time travel.“
Bearing the brunt of the time travel disruption is Mackay’s Nick, a man struggling to support his family before the ill-fated voyage upends his entire world. It’s the type of role that was an easy yes for the actor, simply because of the filmmaker behind it.
“I saw Bait at the cinema when it was first out a few years ago and was so struck by it,” Mackay tells BD. “I just hadn’t seen a film like it. I want to work with the best directors. I want to work with the best directors and people who have a singular vision. As an actor, the process of work is almost my biggest draw, as well as what a story’s saying, but I think you learn by doing, and if I can do my bit in as many different ways as possible. The physicality and the discipline of Mark’s filmmaking, how that is so entwined in the DNA of the film, and therefore in the way that I work within it, that was the biggest draw. I’m just a fan of Mark’s. I was just very pleased to be involved.”
That reflects in Rose of Nevada‘s unique casting; Mackay initially was eyed for Liam.
“When I first got the call to meet Mark at the audition stage,” Mackay said, “We didn’t wind up reading scenes, but they said, ‘There’s a project. There are two roles in it that you could be right for, and Mark is leaning towards you for Liam.’ So, I had a look at Liam, Callum’s role, and had my interpretation of the script ready to talk about it and what I thought that character was, who he was, and how I’m thinking about how I might inhabit that or what I saw in him. And when we met, we didn’t talk about the film at all. We spoke about everything else. But following that meeting, I got the message, said, ‘Mark would like you to be part of the film, but he thinks you’re definitely more of a Nick,’ which I think I just may be a complete sheep because I went, ‘Of course I’m Nick.’
Mackay continued, “But it’s funny, I do have in my own life, I just started a family, and so much of my last few years of being has been trying to figure that balance and what that means and how you navigate that. So with family being at its core and all the kind of conundrums that come with staying level with that, that rang true. So I felt like I understood objectively, I have my interpretations of what both men mean to each other and within the story, but then once I was playing Nick, I just became about a very present focus on who he was and what his situation was. What I liked about him is that he’s a very straightforward bloke. In the best possible way, he’s quite a simple man. It’s just he’s in an extraordinary situation.”
Jenkin wrote Rose of Nevada during the pandemic lockdown that had forced a halt in production on Enys Men. He’d return to rewrite once Enys Men had been completed, creating overlap between films. “They are even more in conversation than you’d think because the first draft of Rose of Nevada was before I’d made Enys Men, and then everything I learned through the making of Enys Men, I fed into Rose of Nevada. But also the reaction to Enys Men, all the critics and writers and audience members who are telling me what Enys Men was about. I’m always the last to realize what I’ve done, I think like most filmmakers. You don’t really know what you’ve made a film about until the audience tells you. I was able to feed that into Rose of Nevada and also scale it up a little bit. So, yeah, in some ways it predates Enys Men, and in some ways it follows on from it,” he said.
Jenkin’s latest caps what’s unofficially been dubbed his Cornish trilogy, a moniker that initially surprised the filmmaker, but he’s come to embrace it. A recent revisit of Bait made it even clearer. “I can now understand why people are linking the three films together. I’d forgotten how linked they are, which is amazing, really, considering the first draft of Bait was written in 1999. So, most of my adult life has been one way or another making this trilogy. I am quite looking forward to starting the next chapter.”
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