An accomplished technical crew member and upcoming writer/director, David Harari has turned his work in film into his directorial debut with the premiere of the film "Processing Charlie" taking place at the 2026 Screamfest L.A. Film Festival. Now, I talk with him about his early work on film, the inspiration for the film, and its filming.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror in general?
David Harari: It probably started when I was quite young, and my mother would rent Kung-Fu movies (back when video stores were a thing and they’d run out of Family films). This exposure to fantastic action, dark themes, blood and guts piqued my interest and has held it ever since. What films or books specifically got you into watching horror movies? When I started choosing my own books to read, I devoured Stephen King, especially his short story collections. Between that and the subversive and taboo horror films of the time (Nightmare on Elm Street, Hellraiser, Gremlins), I just fell headfirst into the genre.
Me: When did you first discover a passion for filmmaking?
DH: I’ve been fascinated and obsessed with movies since I watched Spaceballs and realized that regular humans made movies, it was suddenly something attainable. Were you always interested in the creative arts growing up? Yes, I grew up with two creative parents and have always had a pretty wild and vivid imagination. I’ve been writing, drawing, and photographing throughout my life.
Me: Having worked on various aspects of film production, do you have any particular preference for working on any?
DH: If the question is, what kind of project do you like working on most, then it would be either feature films or live concert shoots (there’s nothing like the thrill of live events). If the question is which aspect of filmmaking do I like most, then probably Production. I love being on set, creating things, feeling the adrenaline, working with others towards a common goal.
Me: Having worked on plenty of short films and TV shows early in your career, what tools and skills did you acquire working on those that transferred to future film projects?
DH: I think one of the most important skills I’ve learned throughout my career is adaptability. You can’t plan for every contingency. As prepared as you are, something will still pop up and derail your day. You can either pout, shut down, and lose the opportunity, or you can take a moment, assess, adapt, and make some magic.
Me: So, that brings us to your new film, “Processing Charlie.” What can you tell us about the film?
DH: Processing Charlie is a horror/thriller about a guy who takes in a long-lost cousin, only to realize, too late, that no good deed goes unpunished.
Me: Where did the inspiration for the film come from?
DH: Processing Charlie was born out of the idea that as a filmmaker, I needed to actually make a film. I had an epiphany and realized that if I don’t endeavor to make a feature now, in this moment, I might very well miss my chance. I didn’t want to be an older version of myself who did not make a movie. Were there any unique stories about its conception? Given that the intention was to write a movie I could actually make with the resources I have, it became clear that I would be dealing with psychological themes, as opposed to large world-building and special effects. It was once I’d conceived of the ending that everything else clicked into place.
Me: What went into the decision to finally write and direct your first feature?
DH: In a word, desperation. I was desperate to be a part of this community, of this conversation. I was desperate to not have this regret of not even trying to make a film when I had the chance. What type of preparation went into this shoot? All of it! I didn’t write a word of this script until I was able to convince my in-laws to take the family in for two weeks so I could shoot in my house, and I had a commitment from my friend to use her home as a location. These things in place, I wrote the script, regularly sending it out for feedback. I spent my nights drawing all of the storyboards by hand. Nearly every shot of the film was storyboarded. I ran several camera tests to check my workflow, my options. I was working or thinking about the movie non-stop for a year before we got to set.
Me: With a cast of experienced and talented indie actors, how'd you settle on the cast getting involved in the film? What characteristics did you look for in each performer that they brought to the table that helped bring the production to life?
DH: I was looking for unique choices and presence. I knew there’s be a lot of close-ups in the movie, given the limited space on location and the subject matter. I was looking for actors with a unique look and interesting voice or manner of speech. Mostly, I was looking for someone who was down to play in this sandbox I’ve created. Someone comfortable with the material, as it is risqué in a lot of ways. I was looking for actors who would be excited to work on an independent project, filmed with limited resources.
Me: What was the set like while shooting the film?
DH: I would say it was pretty calm, for the most part. I ran the set, given my experience as an AD, and planned the days so that we wouldn’t be working past 12 hours. Which is a goal we achieved on all but a couple of days. I don’t panic, so I believe that calm energy settled the cast and crew as well. At least I hope so. The goal was to give the actors the time and space to develop the scene organically and not pressure them with undue logistical stress.
Me: How did the cast and crew react to the type of film being made?
DH: I believe they saw this as a positive experience. We had a good time on set. Filmmaking is hard enough given the hours and physical exertion, so it shouldn’t also be a place of stress and anxiety.
Me: Do you recall having any odd or funny on-set stories about yourself or any of the other cast/crew members?
DH: It’s not ‘funny’ per se, but an example of what indie filmmaking can look like is the day my DP, Sebastian, called to tell me he can’t come in because his daughter’s daycare was suddenly closed for the day. I allowed myself a moment of panic and then looked at the callsheet and schedule. We have things to do today, I can’t just collapse. I started setting up the shot, placing lights, but I was out of my depth. It then occurred to me that if I could find a daycare for his daughter, he’d be able to come in and DP. So that’s what I did. Fortunately, I still have a good relationship with the daycare my kids went to. I arranged for them to watch his daughter for the day. We went there together so I could introduce them in person, then Sebastian and I came back to my place to shoot a movie! It’s worth noting that we started two hours late, but still made our day!
Me: What are you mostly looking forward to with its upcoming screenings and eventual release?
DH: I just want all the people who worked so hard to help make this movie have the opportunity to see it on the big screen and feel the same pride in it that I do. As for audiences, I’m hoping they let their curiosity get the best of them and they watch this movie going ‘what the fuck?!’
Me: What do you do to keep your creative energy flowing?
DH: I read. Lots. And I watch movies all the time! I’m also always creating. Whether it’s in writing, or in shooting shorts with friends, or ideating as I drift off to sleep.
Me: Lastly, what else are you working on that you’d like to share with our readers? Thank you for your time!
DH: I’m working on a couple of scripts and hoping to get back to set soon! In the meantime, they can find out more about me and Processing Charlie at https://www.production-productions.com/processing-charlie. Thank you.
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