An accomplished writer looking to take the turn into directing, Rachel Thomas is taking her skills to the next step as she makes her mark on the industry as a whole on the heels of several notable shorts in front of her feature-length debut. Now, in honor of Women in Horror Month, I talk with her about her early interest in the genre, some of her short films, and upcoming projects.
Me: Hello and thank you for taking the time to do this. First off, how did you get into movie-making in general?
Rachel Thomas: Thanks for having me! It was the discovery of screenwriting that got me on the path to filmmaking. Until that point, my writing had been primarily literary fiction the format of screenwriting was unexpectedly freeing, allowing me to produce more content more quickly. After discovering that film festivals had unproduced screenplay categories, I began attending festivals when my scripts got in. This really opened a fantastic new world and was the true beginning of my education in filmmaking. The hands-on directing/filmmaking side began when a production company was interested in making one of my short scripts and a festival director strongly encouraged me to direct it myself instead. His belief that I had the skills and should be the person to make it was the inspiration to take that plunge. Directing that first short, The Squirrels in the Attic, was a game changer and I fell in love with the process.
Me: Were you into genre films growing up? What films specifically got you into watching horror movies?
RT: Yes! I’m dating myself but my teenage years were filled with some classic horror films like Friday the 13th, Halloween, Aliens, Poltergeist, and The Shining. In retrospect, I enjoyed watching them more with friends who disliked them. This clearly has translated into my storytelling since I still enjoy adverse reactions to my own films (even though they’re nothing like the slasher films of the 80s/90s!). I do also go through waves of not being able to watch horror, and I’m not a huge fan of gore for the sake of gore, which I realize is a little hypocritical considering the content of my work lol.
Me: When did you first discover your passion for writing? Were you always into creative outlets growing up?
RT: I grew up reading a lot, which I’m sure fueled by my desire to tell stories. I’ve always loved creating and was that kid with a camera making my friends and family be in my campy horror films. My writing passion really kicked in in college and my honors project was a collection of original short stories and I’ve continuously written since then. Along with writing, I’m a classical pianist and was in the dance troupe at college so have always enjoyed different outlets for creativity.
Me: When writing a new project, what's the one fall-back tactic that you're always able to draw inspiration from?
RT: I keep a running list of ideas and reference them when starting new projects. The notes are random and often bizarre and would probably make people question my sanity if they saw it. The process from the initial spark is a conscious forming of a story and I don’t start writing until the narrative is fully formed in my mind. And if a screenplay isn’t working, I set it aside and start something else. I’ve learned to be patient with the process, which can be hard, but some of my most successful stories/films were the most painful to figure out. It’s helpful to remind yourself that everything is terrible initially and embracing that part lets you persevere to continue working on it until it feels good, or at least not terrible!
Me: Is there any specific type of character you prefer writing? What is the process like when you start on a new story?
RT: I love creating female characters in particular—but love male characters as well—and they’re always multi-dimensional since that’s true to real life. I often start with something a character is hiding, what is it, and why, which is a great tool to find the motivation that drives the story. The unearthing of that thing might even be a surprise to the character. I try to avoid cliches and characters we’ve seen since people are fascinating and so complex, that there’s a lot to explore. In terms of process, it really does vary with each story, but character and story are always the primary focus so it’s worth spending the time to intimately figure out both and how they drive each other before starting to write.
Me: Is there any specific type of genre you prefer writing? Is there any style or format you find easier to get into even without a preference?
RT: Psychological thriller bordering on horror is my favorite and typically where my stories go without a conscious effort. And while my work has won horror awards, I usually hesitate to call it straight-up horror. I know the horror genre is expansive in its definition, so I think my hesitation is probably around horror fans’ expectations. It feels like my work is tame compared to what they love…but apparently, I have horrified quite a few people with my “non-horror” films so there’s that, lol. There is always a darkness to my stories and the complexity of human behavior is a constant source of fascination, particularly those sinister parts. People have been surprised when they’ve seen my films before meeting me in person and say they weren’t expecting me to be “so normal and happy,” which makes me laugh. I do love dark comedy and there’s usually a bit of that in most of my films as well.
Me: Having worked on plenty of short films early in your career from “The Squirrels in the Attic,” “Cult,” “One Room” and “Influence” among others, what tools and skills do you acquire working on those that transferred to future film projects?
RT: Oh wow, where do I begin? So many! Making these films has been such an education since I didn’t go to film school and am also self-taught in screenwriting. Going into directing The Squirrels in the Attic essentially knowing nothing and never having been on a film set was a steep learning curve but the best thing I’ve done to propel forward. Directing drastically improves your screenwriting but because writing and directing brains work differently, I’ve had to adjust my writing process since I started directing. My first drafts I try to turn off the director-brain and then if I think it’s something I’m going to make/direct myself, I go back and edit with the director's side. I’ve learned a multitude of new skills and lessons on every single project and I think the nature of filmmaking is that this never stops…and it’s a big reason why I love it so much!
Me: You’re latest short, “Fenwick,” is set to be released soon. What are you looking forward to the most about its premiere?
RT: My films in the festival circuit this year were simpler than my previous films (with the exception of INFLUENCE, which I didn’t direct since my script was the Grand Prize Winner of the Emerging Screenwriters Shoot Your Short contest and a director was already attached…that was a fantastic experience but a whole different story). While I love them and they’ve done well, Fenwick goes back to what I feel is my “truer” storytelling style. It’s about an ambitious journalist investigating the Fenwick School, which has been shut down for rumors of practicing eugenics, and he unwittingly becomes part of the school’s sinister history while interviewing the deceased founder’s granddaughter. We also have a lot of insane behind-the-scenes stories from the filming (e.g., filming in a haunted manor) that will be fun to share with audiences during film festival Q&As.
Me: As you’re moving into a feature-length version of the short “On the Last Day,” what has been the biggest struggle about moving from short videos to full-length ones? What type of skill set have you found out from your previous shorts that’s made the process feel less stressful?
RT: We’re in preproduction for the feature and have a bit to go before filming so I can’t speak to the onset experience yet. But I am already mentally preparing myself for it, thinking of at it as a series of shorts that utilize the same skill sets but will require more stamina and organization. Preproduction is critical to be prepared (for shorts as well) and also an awareness of focusing on the care of the cast and crew’s health, both mentally and physically, before and during filming. This can get brushed over but it’s so important in terms of having a productive and happy set experience…when you take care of people it not only enhances the experience for everyone, it translates to the final product.
Me: What else are you working on that you’d like to share with our readers?
RT: I’m working on some new short scripts and another feature script called Water Babies. Since I’m putting all resources into the filming of the feature On the Last Day, I’m holding off on filming any new shorts that require a budget. I do have a new no-budget short TEETH that’s getting some attention and have another zero-budget script ready for when the itch to film arises. Mobile shorts are such a great way to experiment with low stakes since they force you to be creative in ways you don’t think about when there’s a crew, cast, and money involved.
Me: Lastly, being that this is our Women in Horror Movement, what special message do you have for any women out there looking to join in the industry in any capacity as you are one yourself? Thank you again for your time!
RT: There are a lot of bad-ass female genre filmmakers out there and there’s a truly wonderful support system. The horror community is incredibly supportive with some of the nicest people I’ve met. I’m not sure what it is but maybe we get all our demons out on the page and the screen. And don’t feel like you should know “everything” before you take action, because that will never happen. Look at every opportunity to be a part of a film as a learning experience and take the leap in!
This interview ran as part of our 2024 Women in Horror Movement celebrations! Click the banner below to check out our complete coverage:
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