Interviews
‘Over Your Dead Body’ Director on Combining Buckets of Blood & Barrels of Laughs [Interview]
Jorma Taccone is a brilliant filmmaker and comedic voice who breaks new ground with whatever he tackles, whether it’s endless Lonely Island songs and digital shorts, helming episodes of television, or directing absurdist feature films. Taccone’s comedy, while wildly eclectic and unpredictable, is often interested in lampooning the style and aesthetics of other genres, like action parodies in MacGruber, documentaries and music videos in Popstar: Never Stop Never Stopping, and now horror and thriller fare in Over Your Dead Body.
In Taccone’s latest, a struggling married couple (Jason Segel and Samara Weaving) resort to a romantic cabin vacation in an effort to reconnect, only for them both to discover that they’ve been planning the other’s murder. Over Your Dead Body taps into the emotional melodrama of a relationship that may have reached its breaking point, while infusing this tension with hyperbolically brutal setpieces. In a year that’s featured blood-soaked horror films like Ready or Not 2, Send Help, and Scream 7, Over Your Dead Body might be the most vicious of the lot.
To celebrate the film’s release, Jorma Taccone opens up on the similarities between comedy and horror, the power of humor as an equalizer and entry point into more brutal storytelling, the challenges of asserting your voice while doing a remake, and why Over Your Dead Body is “like three movies in one.”
BLOODY DISGUSTING: You have such rich experience when it comes to embracing and subverting genre tropes, going all the way back to Lonely Island sketches like “The ‘Bu.” So much of nailing the joke in something involves that meticulous attention to detail and replicating the right genre dynamics. Was that part of the appeal in taking on a project that plays more into the thriller and horror space?
JORMA TACCONE: I think that with all of the stuff that we’ve done, as you mentioned — things like MacGruber, the action genres, overly dramatic teen dramas — it all comes out of such a place of love. We want to be able to not just do it, but hopefully do it effectively. I think I always enjoyed the idea of pushing those genres and doing them well enough so that you really feel like their worlds are believable, even if it’s something as arched as MacGruber, and then bending it as much as you can into a humorous space. I would just say that it’s coming from love, but then, honestly, horror is pretty new to me. There’s a lot of crossover between comedy and horror because I think that there are explosions that are the equivalent of the way a joke lands.
A big part of the appeal of doing this was how much genre-bending is going on. This movie is like three movies in one, honestly. It goes from almost like a suspense thriller, which is a really fun place to be in. There are a lot of really dramatic scenes that are like real acting scenes between both Samara and Jason, who are both excellent. To dip into that was really fun. It sort of becomes almost like a home invasion movie, too, before it becomes a full-on action film in a way that MacGruber is not. MacGruber is like a faux action movie. This goes full-out and gets treated as real as possible. Then layering all that together and threading the needles of pulling it all together in a cohesive vision. I don’t want to say that word. It’s like saying “filmmaking” or “filmmaker“; “I’m an artist.” All words that I balk at. But no, the humor to me is the thing that sort of ties it all together. It was just like a really fun place to showcase many different kinds of things that maybe people haven’t seen me do before.
There were so many moments that kind of felt like War of the Roses meets Panic Room or Home Alone, or something.
JT: All movies I love. All movies I love. I don’t think that there were any specific references to any movies that we were making, but it all goes into the ether of your brain and influences you.
I was a fan of Tommy Wirkola’s original film, The Trip, on which this is based. Over Your Dead Body does a great job at feeling like its own thing with a different voice. Did you try to refer back to the original film at all, and was that a challenge?
JT: It was a fine line there, but something that definitely made me want to do the film in the first place. I love the original. The original is, I would say, much darker emotionally than this film is, but I also wanted to both honor the original — because I liked it so much — but then also keep its teeth, so to speak, because it’s a dark film. European films are often darker, I think, and then the American remake becomes this softer take on it. It’s more my vibe, along with Jason and Samara’s vibes, if that makes sense. The characters are a bit more — and I don’t want to say this because I love the original — but they feel a bit more redeemable. I wanted to be able to have some closure at the end, where you really want to see this couple together, even though they go through this crazy fucking shit.
So it was both. It was trying to honor the parts of the original that I really responded to and do justice to those parts. And then as a filmmaker, not to change things just for the sake of changing them because I felt like it’s an ego-y thing. Why are you changing something that works, you know? So we really tried to keep the parts that worked for us. Then it’s an overall tonal shift to me.
Another thing that I was really concentrating on is that this movie just ramps. It becomes exponential. So that was something that we kind of found in the edit, honestly, because we did follow the guidelines of the original. It does have my own kind of take on all of it, which I was really proud of. Honestly, a big part of making a remake or wanting to make a remake – because I did not want to, like at all – I couldn’t get the original out of my head. But I just loved Nick [Kocher] and Brian’s [McElhaney] script so much that I literally couldn’t not do it. I know that’s a weird thing to say, but I just kept coming back to it.
Another big thing for me was just knowing that I was going to do Tommy Wirkola proud. He loves this version, and I think he’s really proud of it and proud of me, which feels great! It’s great to have something that you respect and then to really feel like you ended up with something that you’re equally proud of. I feel like it’s an equally impressive movie. Also super fun to see with an audience.
On that note, horror and comedy are both genres that are great to experience with a crowd. This film had a great premiere at SXSW, where it also won the Audience Award. I’m sure that must have been a validating way to kick things off. Can you talk a little about feeding off that energy, and if there were any reactions that left you surprised?
JT: Oh dude, we did the premiere — 15 years ago or whenever it was — we did the premiere of MacGruber at SXSW. With Over Your Dead Body, the response was equal to MacGruber. I mean, it was going off in a way that I was like, “Are they doing an impression of an audience liking this movie?” It was so raucous and so much fun. There are these ramps of laughs that then go into violence, and so to have this audience that is like guffawing laughs and then screaming in surprise is just the best. I kind of never want to premiere anything anywhere else.
There are some brutal sequences with so many moving parts to them that are such great showcases. There’s beautiful effects work going on there, not to mention that fantastic lawnmower setpiece. What were the challenges in bringing those sequences from the final act to life?
JT: It’s funny because, like before delving into this, obviously, I’d done some action before. But with MacGruber, it’s like very shot-reverse shot. Nothing’s tied in.
You’ve got long takes going on here.
JT: No, this is like handheld stuff, and like it’s all choreographed for these bigger setpieces that really involve a lot of blocking and movement. You really have to sit there and storyboard. I’ve storyboarded many things before, but it was cool to work with my storyboard artists, with 87North, with my stunt coordinator. Just incredible dudes, and to be able to honestly work with a company that is incredibly good at that sort of thing and knows violence in a way that is fun, funny, big, surprising, gory things. And then to have a sort of slightly different perspective on it. I’m always trying to have the characters come through during a fight, and maintain that these are novices who are not the best at fighting. That provides a lot of humor, and then using some of that fun sloppiness to both accentuate the violence and humor.
It was such a fun thing for me. I actually think that it was a lot of fun for those guys, too. They’re like really funny guys. They’ve actually made a really funny movie in Germany. They’re all German stunt dudes. It was great to collaborate on that. Honestly, there’s an action at the end that’s really fun and over-the-top, too. A lot of blood. All of it was just so much fun. I think that before I was doing it, I had this moment where I was like, “How is handheld action going to feel?” So I shot a little scene with my kid and his friend, doing it handheld, and I was like, “Oh, this is so much easier!” Everything looks amazing off the top. So the combination of doing that with a pretty heavily storyboarded thing gives it this awesome frenetic kind of feel. It’s really fun to do.
It’s hard to even look at Jason’s face by the end!
JT: Oh my God, right? It does play humorously. That was one of the things that I really liked about doing this: I’ve had a lot of people, including my mom and my step-mom, who are watching it and then laugh super hard at really gory shit that I know they would normally never laugh at. I’ve had people who were like, “I am not a gore person. I don’t like violence, but this was so funny.” It’s amazing that the humor can allow them to find some of those things funny, while still being very affecting because it gets over-the-top.
Over Your Dead Body is playing in theaters on April 24, 2026.
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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