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Q&A with Jim Hickox, Director of “Slow Creep”

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Name a Horror character you relate to on a spiritual level? Who is your Horror spirit animal?
Maybe Conal Cochran from Halloween III? I identify with his love of giant stones and desire to turn faces into snakes.

You’ve gotta go through some bad ideas to get to the good ones. Tell us one of your bad ideas. How do you get past the bad ones to find your spark?
Ideas are neutral – it’s execution that makes things good or bad. When my ideas don’t resonate with me I forget them, but I do have an endless list of dumb ideas that I intend to develop at some point.

Do you consider yourself part of a horror community?
Historically I don’t feel like I’ve ever been too deep into any kind of community, but my last film Soft Matter landed me a series of interviews with people who are into strange cheap genre films. It’s opened me up to a whole weirdo-horror community, and they are absolutely my people.

When you’re building the world of your film, where do you look for inspiration?
My characters show up first, and the worlds grow around them. My subconscious pulls in a lot of elements from things I love: 60s-80s trash films, indie comics, craigslist missed connections, slime molds, stuff in space, sugary cereals.

What would you do if you woke up inside of your film?
Well I know how to kill the monster, so it’d be easier than waking up in someone else’s horror film.

Who would be on your ultimate horror villain squad?
The car from Christine, the car from The Car, the truck from Duel, the trucks from Maximum Overdrive.

Lightning round: Freddy or Jason? Stephen King or H.P. Lovecraft? Practical or CGI? Post Apocalypse or Pre Apocalypse?
Freddy
King
Practical ten thousand percent forever
Is the pre apocalypse now? Normal un-apocalyptic life? That’s the easier option by far.

How do you go about creating the props and sets for your film? How do you create objects that are relatable but unfamiliar?
A movie is made in the casting and crewing – if you hire the wrong people it’s going to suffer for it. I lean heavily on my department heads when it comes to creating objects and sets. The whole filmmaking process works best when it’s highly collaborative. For me it’s a lot of giving references to people who are smart about their craft and then bouncing drafts back and forth.

And finally, British Ghostface would like to know ‘What’s your favourite scary movie?’
I forget if there’s a “correct” answer in the Scream movies. Is there? I should rewatch them. It’d be nice if Ghostface only let you live if you named another Wes Craven movie. I’m bad at favorites (they shuffle around from day to day) but right now I’ll say From Beyond.