John Carpenter Talks Suburban Screams, Halloween, and Returning to Directing (Exclusive)

In his decades-long career, John Carpenter has worn many hats as a filmmaker, from director to writer to composer, though with his upcoming series John Carpenter’s Suburban Screams, he’s venturing into an all-new arena. While his previous work has seen him create or adapt thrilling tales of fictional terror, the new series explores all manner of terrifying tales that are based on true-life events, ranging from making connections with figures from the beyond thanks to a Ouija board to local legends about murderers whose legacies don’t seem to stop at death. The series also sees Carpenter returning to the director’s chair for an episode, having only helmed a music video since directing 2010’s The Ward, for a story about a woman being relentlessly stalked for years. John Carpenter’s Suburban Screams premieres on Peacock on October 13th.

The new series is described, “John Carpenter’s Suburban Screams is a genre-busting unscripted horror anthology series from the mind of legendary director, writer, and producer, John Carpenter. The series explores the dark secrets and unspeakable evil that sometimes lurks beneath the surface of the sun-drenched streets, manicured lawns, and friendly neighbors of suburbia. Each episode focuses on one true tale of terror, told by the real people who lived through it. Their firsthand accounts are brought to life through premium cinematic scene-work, news clips, home photos, and archival footage, combining the visual language of horror films with the tools and techniques of documentaries, creating a uniquely frightening experience for viewers.”   

ComicBook.com caught up with Carpenter to talk developing the new series, his connection to Halloween, and other beloved stories he’s delivered fans over the years.

ComicBook.com: We are now in October and I feel like, every October, there’s this movie you did about “babysitter murders” or something that a lot of people watch in October. Do you personally have any Halloween traditions? Are you excited for October or are you like, “I’m just sick of people talking about Halloween. Let’s get to basketball,”?

John Carpenter: B is the answer to that. Everything you said. I’m sick of it. Let’s get to basketball. 

Fair enough. Now, I was super excited to hear about Suburban Screams. It definitely came out of nowhere for a lot of us fans. What was the idea of, not only developing this project — I talked to [producer] Sandy [King] about it a little bit, but how did the idea of you actually directing come about and what was it about that story that you directed that really excited you?

It’s a real-life story, which I haven’t really done before. I did real-life stuff in Elvis, but this is different. And I thought I could do something with it. I think that’s what directors — when they read material or they hear something, they think, “I can do something with that.” That’s what I thought. Because the shocking thing is, it went on for six years and it’s not ended yet. I can’t believe it. I thought, “Well, this is interesting. It’s almost like being haunted by something.”

I definitely feel like that sets it apart from other types of true-crime things that are out there, is that a lot of them have some happy ending. Not only is it not happy, but it’s ominous.

You know it. Oh man, it’s unbelievable.

Another thing that definitely sets this apart, for you, you’ve done plenty of horror, you’ve done some pretty graphic things in some of your movies. With a lot of true-crime stuff, they almost throttle the imagery for the reenactments. Your episode has violence, it has obscene imagery, it has the obscene phone calls. Were there any talks of, “How far do we push this? How authentic do we make it?”

No, nobody said anything. Nobody tells me anything. 

I feel like if your name is on the title of the series, even if anyone did try to tell you what to do, it’s a pretty good card for you to pull.

Well, I guess so. I don’t know.

When collaborating with some of the other directors that were involved, was it the same thing where the different directors all had free reign over what they wanted to do or did you give them any overall direction or motivations?

Because of my training at USC, I cannot interfere with other directors. I just can’t do it. It’s forbidden. It’s all their stuff. That’s their movie. They need to step up and take responsibility for everything, and I just keep my mouth shut. 

Another super exciting thing is, not only are you overseeing this project, but having actually directed, it’s a new thing because you directed over Zoom, which, the commute to set I’m sure was a little bit easier. What was that process like for you? Was it a pretty natural thing or was there a learning curve?

It wasn’t actually Zoom, but it was remote. There was a hookup we did with the crew in Prague so that I was looking in my big-screen TV in my front room, I could see through it, through the camera. Then I had a hookup next to me in my laptop where I could talk to people. It was a setup that was fabulous. I loved it.

The issue with all that is, like any directing assignment that you do, you just have to plan everything. You just have to plan every shot and then everything goes smoothly. That’s what I did. I planned every shot, and I shared the shot list with my A.D., my assistant director, and my director of photography, so that we all knew what we had to do. That made everything go much smoother. 

In that regard, I know one of the big things that you’ve mentioned when people ask you about directing another movie is just how much work is involved and how that’s not at all of interest to you, to put in all that work and time and energy. But has this — if you could direct a movie remotely from the comfort of your own front room, do you think you would be up for that? Or is directing an episode of a TV show much less involved than an entire movie?

Well, it’s definitely much less involved, but it’s frenetic. Sure, if I see a script or a story that I want to do, I’ll do it. It doesn’t matter … whatever it is, I’ll direct on the set. I’ll stand there like a fool and direct. If there’s something I love and want to do, that’s the big issue. 

I don’t get much say in it, but I don’t even think you should have to stand. I think they should get you a nice, comfy chair to hang out in.

Thank you. I think that’s really good. That’s smart. 

This whole series, some of the stories are more real-life horrors, like the episode you directed about that stalker, that’s a very real thing and there’s proof of it. Some of them are a little bit — there’s Ouija boards and lots of local legends. I wondered if you, growing up, had any local legends of either spooky houses around town or creepy neighbors you shouldn’t have gone near?

Well, there was the house that we all thought was haunted. It was out on Cemetery Road. I think every town has that. Every town has some place that people think, “Oh, there’s something wrong with that.” Sure, sure.

Did you listen to those warnings? Did you stay away from that house or did you ever go investigate?

I never investigated. No, no. 

Leave it to the other folks to do it, and then they can report back to you.

That’s exactly right. 

Along those lines, some of the more supernatural things outside of your episode, do you believe all these legends from all of these episodes? Or do you think it even matters whether you personally believe them and it’s just about the people relaying those stories that’s what’s important?

All right, here’s what I’ll say to you: the supernatural exists in movies, TV, books, in the media, and that’s where it exists. I don’t believe it exists in real life. Now, I’m open to seeing it. You have a ghost that I can take a look at and study for a minute? I’m open to it. You have a UFO that flies by, stops a minute, lets me look at it? I’m open to that. But otherwise, I don’t … Where is all this stuff? It doesn’t exist around me. 

So it sounds like your outlook on the supernatural is very similar to your outlook on directing, that you’re not looking for it, but if it comes to you, you’ll say, “Sure, come on in,”?

Well, not exactly. 

Look, my first love of my life and my biggest love was movies, cinema. That’s always been my driving force in my life. I don’t mean to downplay my concern and love about films. I didn’t … That’s what did it for me and continues [to do it for me]. 

I was curious about that. I think there’s a little bit of — definitely more on social media and the Internet — that there can be an image of you that that your main focus is you want to make music, you want to play video games, and you want to watch basketball. Movies, you’re not necessarily keeping up on them as much. When people ask you about new horror movies or whatever, I know you’re not watching as much horror as maybe you used to. What excites you the most about contemporary cinema?

Well, I always love good movies, and I see most films — that’s a lie, I see a lot of new films. I don’t see that many horror films. There’s some I see. Jordan Peele, I love. It depends. 

I’m a little more … When I was younger, I would see everything to learn from it. Every single thing: bad, good, doesn’t matter to me. I’m a little pickier now, quite a bit pickier, [if there’s] something I’m interested in … But I’ve become addicted to video games and basketball. It’s just so much fun, and it takes me away from the horrors of the real world. So, why not? 

I know you’ve said you like Jordan Peele, and I told him that you were a fan of his work, and he was shocked. He couldn’t believe it, he had no idea you liked his movies, and so I wondered if you knew he loves your movies? Do you know how much of a fan Jordan Peele is of your work?

Look, I don’t know anything, but I’d love to sit and talk with him. I think he’s really talented.

I mean, this is it, I’ve got to get this out. I’ve got to get him this to make sure that you two can get together and collaborate.

Absolutely. As a matter of fact, just tell Jordan to get ahold of my agent. He can find out who that is, and we’ll get together.

I’ll send some emails to try and make this happen.

Good. My wife will cook us dinner. We’ll sit and talk about movies, and there we go. I’m ready. 

I know how much you love video games. I know that there was an Escape from New York board game, I know there was The Thing video game. Do you think there’s another movie that you’ve made that would translate well to a fun, modern video game?

I don’t know. I think, maybe … Big Trouble in Little China, it seems to me would be a fun video game and kick ass. There’s also, by the way, a Thing card game. I mean, there’s a lot of these games. There’s actually a They Live game. I don’t know that there would ever be a Prince of Darkness game. I don’t see that. 

You say that now, but I would love if there was, if you remember the Trouble board game with the thing you had to pop in the middle, I like to think of Prince of Darkness, but with the big, green, swirling slime tube in the center that you have to flip over like an hourglass.

That’s it. There you go. 

I’m a huge Prince of Darkness fan, I think Prince of Darkness is definitely one of your most underrated and maybe overlooked movies to some audiences. I absolutely love that movie.

Thank you. I do love that movie, too. 

I think the last time that I talked to you was before the release of Halloween Ends. You were pretty clear about, as long as Halloween makes money, there’s going to be more Halloween. Jamie Lee Curtis is gone, Michael Myers is gone, I believe…

Don’t you believe it yet. Don’t you believe it yet. There’s all sorts of ways of bringing Michael Myers back. There’s all sorts of ways of telling that particular story. We’ll just have to wait and see.

I don’t know if you can tell, I’ve got some Halloween III decorations in the background.

I see them.

I love the anthology route. I wasn’t sure if you had any advice to whoever the new filmmakers out there might be, of finding a new angle on Michael Myers or if they should go do a TV series that’s completely unrelated?

I don’t know. I can’t help them. I can’t help the new filmmakers. Plus, they have so many advantages over what I had when I was the same age. That makes me hate them! It’s all great.

Well, I don’t know, I feel like maybe if they can get you a nice paycheck, then maybe you might be willing to lend some expertise.

Sure. I’m ready to go. 

Since so many of your movies have been revived, and I know you encourage people, as long as you’re getting a credit, you encourage people to re-imagine, re-work some of your classic movies, but is there a movie of yours that you’ve made that you would almost want to pay them to stay away from, that just couldn’t be done?

No. Have at it, man. Have at it.

I will say that I spoke to James Hong about The Rock’s Big Trouble in Little China, and he was like, “No, don’t do it, unless you’re bringing back Lo Pan, no more Big Trouble.”

Of course not. James is — what a character. I really love James Hong.

Honestly, he seemed like he is ready to be Lo Pan again.

Yes, he is. He is.

He has not slowed down one step in all these years.

I know. It’s amazing, isn’t it? 

I know that there’s been a lot of listening parties for your new album, Anthology II, are there any plans of doing any live shows coming up or any tours?

No plans, exactly, but we’ll see what happens. We have another Lost Themes in the making coming up, so we’ll see. Never say never in this business.

That’s great. I’m super excited for Lost Themes. I love what you and Cody [Carpenter] and Daniel [Davies] have been doing with that. They’re fantastic.

Thank you. 

Have you seen The Last of Us? I know you’re a big fan of the game, have you watched the TV show?

Yes, I love it. Oh, it’s fabulous. Fabulous, fabulous.

So are you looking forward to Season 2? I know there’s going to be some changes from the source material.

Time out, time out. How do you know there’s a Season 2? 

They’ve already announced it.

Fabulous.

It’s on pause because of the strikes. I know, obviously, you can’t go and just do the second game, there’s going to be some changes to the source material.

Fabulous. I love it. The story is great. Forget the game. The actors in the [show], just sensational. That was so well done.

I mean, I don’t know, it sounds like we should get you on board for Season 2?

No, I want to watch it. I don’t want to work. 

I know you don’t dissect your movies or look back on your movies the way that fans do, but all your fans love to debate what happens at the end of The Thing. Even [cinematographer] Dean Cundey has weighed in on the lights in the eyes as the giveaway of who’s a human and who’s not a human.

He has no clue. He has no clue.

Does that mean, do you have a clue? Do you have an answer between Kurt [Russell] and Keith [David]?

Yes, I know. I know who’s the Thing and who’s not in the very end.

Can I know?

Nope. Nope.

I tried. I did my best.

Cannot tell you. Sorry.

It sounds like Dean Cundey is full of crap is what you’re telling me.

Yes, he doesn’t know. He has no idea. He puts the lights up. He puts the lights up, and we were in the snow. He has no clue.

Well, next time I talk to Dean, I’ll let him know he’s full of it.

You tell him that. Tell him he’s full of sh-t. 

Another thing that I’ve always been curious about is, back in the ’90s, you were working on a Creature from the Black Lagoon remake and Guillermo del Toro did his Creature from the Black Lagoon homage with The Shape of Water. It won all these awards, the Academy Award for Best Picture. Was your take on Creature from the Black Lagoon, was it going to be relatively straightforward and authentic to the source material or were you going to do a reinvention or go in some unexpected directions?

Well, the thing about Guillermo was that he did a movie about a girl f-cking a fish. We weren’t going to do that. So there was no Oscar in our future. You have to have this girl f-ck a fish … in order to win the Oscars.

So, for your version, it would’ve just been, like, foreplay, but then you would’ve cut before the actual fish f-cking?

That’s right.

It’s one direction to go. I’m not the Academy Awards, but it still sounds like you had a pretty promising idea.

Well, it could have been good. It was the Creature, we were going to redo the Creature, pretty faithful to the original, but we didn’t do it. So, there you go. 

Well, John, I really appreciate you taking the time to chat. I’m such a big fan of so much of your work. I can’t wait to pick up the new album and keep my eyes out for Lost Themes IV. And what’s going on with the Warriors and Chris Paul? How’s the vibe after hating him for all these years and now he is one of you?

Well, there you go. I mean, he’s a great player, so we’ll see how it works. It could be great. It could also be sh-t. We don’t know.

That’s a great outlook for anything in life. “It could be great, it could be sh-t.”

Well, that’s the truth. Come on, man. 

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John Carpenter’s Suburban Screams premieres on Peacock on October 13th.

This interview has been edited for length and clarity. You can contact Patrick Cavanaugh directly on Twitter.