How did you become a fan of horror cinema and what was the first film that made you fall in love with the genre?
My love for horror cinema began when I was very young. I was fascinated by the feeling of being scared, but at the same time drawn to the idea of exploring the unknown and the unsettling. The first film that made me fall in love with the genre was "Halloween" by John Carpenter. I remember watching it as a child and being struck by the psychological tension, by how the film built terror through atmosphere and suspense rather than special effects.
The way Carpenter used space and his boogeyman, not only scared me but also made me realize how powerful cinema could be in manipulating the emotions of its audience. From that moment, I understood that horror was a genre capable of going beyond simple scares, tackling deep and universal themes like fear, death, and the unknown. This sparked my passion for horror cinema and everything it represents.
Why did you feel the need to delve into American New Horror?
I felt the need to delve into American New Horror because it represents a pivotal moment in the evolution of the horror genre. This period, spanning from the mid-1960s to the late 1980s, wasn't just about scaring audiences—it reflected deeper societal anxieties, political tensions, and cultural shifts. Directors like George A. Romero, John Carpenter, Wes Craven, and Tobe Hooper were using horror as a lens to explore the fears of their time, from the Vietnam War and Cold War paranoia to consumerism and the breakdown of traditional family structures.
That means it was a revolutionary moment for Horror in general right?
Yes, for me, American New Horror was a revolution in the way horror films were made and perceived. These filmmakers broke away from the classical tropes of monsters and supernatural threats, introducing new kinds of terror that were often more psychological, gritty, and grounded in real-life fears. The genre became a powerful form of social commentary, and I wanted to explore how these creators channeled the cultural turmoil of America into their works.
By interviewing key figures from this era, I aimed to uncover the creative, political, and social forces that shaped their films and how they approached the genre during such a transformative time. It's a genre that I believe continues to influence modern horror, and understanding its roots in the New Horror movement offers invaluable insight into its ongoing evolution.
Which of the interviewees particularly impressed you and why?
Several of the interviewees impressed me deeply, but if I had to single out one, it would probably be George A. Romero, we have been real good friends till the end of his life. Romero's work and perspective on horror were not only revolutionary but also deeply intellectual and reflective of societal issues. During our interview, what struck me the most was his ability to seamlessly blend social commentary with the horror genre, particularly in films like “Night of the Living Dead” and “Dawn of the Dead”.
His critique of consumerism, racism, and social decay, all through the lens of a zombie apocalypse, showed how horror can be more than just entertainment—it can be a sharp reflection of the world we live in. Romero never saw himself as just a horror filmmaker, but as a storyteller using horror as a tool to challenge norms and question the human condition.
His down-to-earth demeanor and genuine passion for the genre, combined with his sharp intellect, left a lasting impression on me. He wasn't just a director but a philosopher of fear, using his films to make us confront the darker aspects of our own societies.
And which interview moved you the most?
Without a doubt the one with Richard Matheson. To me he was and remains a true legend (pardon the pun!). The afternoon spent at his home discussing his influence on the origins of the modern Fantastic I will carry in my heart forever. Richard was an unassuming, affable, and very likeable person, and despite his age he had not lost his desire to write at least 5 hours a day. A great author.
How do you think the relationship between film and literature works? There are people who say that literature always tells something more than the screen, yet there are great films that came out of great books....
The relationship between film and literature is deeply intertwined, yet they are two distinct forms of storytelling with unique strengths. Literature allows for more introspective exploration, giving readers access to inner thoughts, detailed world-building, and a more personalized, imaginative experience. The written word can convey layers of nuance, psychology, and subtleties that might be harder to translate directly to the screen. However, film adds its own powerful dimensions: the visual, auditory, and emotional immediacy. A great film can distill the essence of a book and bring it to life in a way that enhances its emotional impact, through performance, cinematography, and music. In some cases, film adaptations can make a story even more compelling or accessible to a broader audience. Great films that have emerged from great books – such as “The Exorcist” - show how the two mediums can complement each other and result in extraordinary interpretations of the same story.
What books have influenced you the most?
The books that have influenced me the most are those that explore complex human emotions, societal structures, and the darker sides of human nature—often through the lens of genre fiction. Titles like I Am Legend by Richard Matheson and Frankenstein by Mary Shelley have had a huge impact, not just on my understanding of horror, but on how stories can be used to reflect fears, anxieties, and societal changes. Outside of horror, books like 1984 by George Orwell and Brave New World by Aldous Huxley also left a lasting impression. They’re not horror in the traditional sense, but their exploration of dystopian futures taps into similar fears about control, identity, and societal breakdowns—much of which horror cinema also explores, though through a different lens. Plus... I adore Stephen King. 22/11/63 became my personal modern classic: a masterpiece.
Do you think contemporary horror still manages to be a metaphor for society?
Yes, unfortunately, however, in recent years we have a phenomenon called “elevated horror” which, not going into detail, I don't like at all. Many of these filmmakers claim to talk about very sensitive things like racism and women's rights through crudely brainy, forcibly auteurist cinema and with metaphors that are “gritty” to say the least. Two examples that I really like instead are “Babadook” and the “Black Mirror” series.
What contemporary horror film has impressed you the most?
I have no doubt answering “Martyrs” by Pascal Lugier. It's a masterpiece for a long list of reasons...and don't get confused: I'm not talking about the American remake....IoI
What is the situation, on the other hand, of Italian horror?
Very easy: there is not Italian Horror anymore because the Italian cinema, as an industry, is long time dead. The last fully realized Italian horror film is “Demoni,” 1985 by Lamberto Bava. It is rather interesting to note that Mario Bava in 1960 with “Black Sunday”, started the glorious season/school of Italian horror and then his son Lamberto, 25 years later, sanctioned its end...
