Exclusives
[Interview] Director Don Coscarelli On The Trippy Gore Of ‘John Dies At The End’ And His Plans For ‘Phantasm 5’
Magnet Releasing unleashes John Dies at the End (review), the sci-fi/horror movie from horror icon Don Coscarelli (Phantasm, Bubba Ho-Tep) On-Demand today.
It’s an incredibly trippy, funny and splattery movie. I recently sat down with Coscarelli to talk about the film’s psychedelic influences and discuss how he measured out the gore. For good measure, we touch on Phantasm 4 – and it sounds like that film has a good chance of happening!
“In ‘John Dies at the End’, it’s all about the Soy Sauce, a drug that promises an out-of-body experience with each hit. Users drift across time and dimensions. But some who come back are no longer human. Suddenly a silent otherworldly invasion is underway, and mankind needs a hero. What it gets instead is John (Rob Mayes) and David (Chase Williamson), a pair of college dropouts who can barely hold down jobs. Can these two stop the oncoming horror in time to save humanity? No.No, they can’t.”
John Dies At The End hits from Magnet On-Demand today, December 27, 2012 and is in theaters February 3, 2013. You can find more on the film’s Facebook page Head inside for the interview!

The movie is pretty psychedelic. I’ve always been fascinated by the fact that our reality is shaped by how our brains process information, and I think John Dies At The End really taps into that. “A long, long time ago I developed a great interest in some of the writers who talked about this. Philip K. Dick was one of the best, talking about layers of reality. And they got me thinking about these types of things. We are what we perceive, and people perceive things differently. There are a lot of questions about mental illness, is it actually an illness or is it a different perception? When I saw all of that nicely packaged in this story, I thought it would resonate.”
There’s so much happening in the movie, both in terms of plot and character. And that exploration is going on as well. How much of a juggling act is it balancing traditional film concerns with these bigger questions? “ It’s immense. If you slip a little too far over the edge, you tumble into camp and parody. You’re making fun of your characters and the concept, and you don’t want to do that. It’s hard to add a layer of reality to it. There was a year of editing and deleting things that I thought were maybe too far out there, then deciding that maybe they weren’t too far out there and putting them back in. I probably bothered every director and editor I knew, asking them to come and watch this and tell me if it made any sense.”
The movie is fairly gory and has a lot of effects, but they don’t take you out of the movie. “It’s a function of looking at it and asking if it’s too far fetched. Can we go explosive with the gore here? Or is it too much? Evidently we did okay because we got an “R” rating without too much of a problem, despite some of the areas I was concerned about. But it was an ongoing evolving challenge to create something that was both funny and effective. Sometimes we push it way out on the edge, like when that dog starts talking. I was always concerned about that, but luckily the motif of the drug works with it.”
The movie has a really great, warm ensemble. “A lot of it is, every actor has their different process of working. As I get older, I respect actors more. When I was younger I thought of them as tools to make your movie happen, but as time has gone on I started to think about how impossible the actor’s job is actually. It seems impossible and I could never do it myself. The whole movie is a weigh on their head and they have to breathe life into it. So now I try to keep them comfortable at all times, unless I need them to be edgy.”
On the possibility of Phantasm 5, ““There’s been a lot of speculation for a lot of time. When I made ‘Phantasm 4′ I really saw it as an end. And it really was an ending of that portion. But I will tell you that I get so many questions about ‘Phantasm 5′. And no one’s talking about remakes! They want a ‘Phantasm 5′ with the original actors. All of the actors are in great shape, Angus [Scrimm] does an excellent job in ‘John.’ And I used to just dismiss the idea of ‘Phantasm 5′, but now I have to take it a little more seriously. There is a rabid fan base that will not be denied! So once I get done with this publicity thing I have to find a way to satisfy that demand!””
Exclusives
‘Rose of Nevada’ Exclusive Clip Gives Ominous Warning from the Past in Hallucinatory Time Travel Mystery
A strange neighbor’s forboding words act as an ominous warning for the experimental time-traveling voyage ahead in our exclusive clip from Rose of Nevada.
Rose of Nevada opens in New York and Los Angeles theaters on June 19, 2026.
Watch the exclusive clip below, which sees the disoriented Mrs. Richards (Mary Woodvine) accost Nick Dyer (George MacKay), suggesting she knows him from her past, before he embarks on a trip to sea that will change everything.
In the film, “Three decades ago, the Rose of Nevada vanished at sea, along with its crew. Now, it has returned. In a remote fishing village, its reappearance is embraced as an auspicious sign, with the local citizens convinced the luck of their economically devastated community may turn, if only the ship sails again. Joining the crew is Nick (George MacKay), desperate to provide for his young family, and Liam (Callum Turner), a mysterious drifter eager to escape his past. After a successful voyage, they return to harbor, only to find that nothing is as they remember it.”
Edward Rowe, Francis Magee, Rosaline Eleazar, and Adrian Rawlins also star.
Written, directed, edited, and scored by Mark Jenkin, Rose and Nevada closes out the filmmaker’s Cornish trilogy that also includes shot-on-film folk horror nightmare Enys Men and 2019’s Bait. All three films in the experimental series are set along the Cornish coast and were shot on a 16mm Bolex camera.
It’s also worth noting that Woodvine, who appears in the below clip in effective age makeup, and Rowe also starred in the trilogy’s previous installments.
The film is described as a “hallucinatory time-travel mystery.” The press release notes, “Jenkin conducts a cinematic séance, conjuring a portal into another world that forces us to confront the past and our relationship to it.”


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