“I wanted to show a woman who was in power and be clear on the consensual nature of the exchange — even if the act is something left of center and quite gory!”
Meredith Alloway
I am very excited to bring you this interview in the Women in Horror series, highlighting the very talented Meredith Alloway. A writer~director~actress~producer, originally hailing from Texas, Meredith now lives and creates in Manhattan, New York. The way she describes living in the city is that of a very passionate artist. Meredith has been creating horror films since she was 10, in some respect, but it’s the exploration of breaking genre boundaries that keeps her in the horror genre.
After an intense Manhattan spin class, Meredith was inspired immediately to write the script to her horror short film, Ride. She was given the opportunity to feature Ride in Hulu’s Bite Sized Huluween. From there she wrote, directed, and starred in her short film Deep Tissue. This film is thoughtfully done, showing a real exploration of consent and human desire. As Meredith puts it, “I wanted to make a snapshot of a love story, a meet-cute even, where we see two characters find liberation through a shared act of desire.” Check out my interview with Meredith Alloway, where she also speaks about some future projects with me, below. She’s definitely a filmmaker to look out for.
Conversations with Meredith
Where are you from & where do you currently reside? How has this affected your writing?
I’m from Dallas, Texas and live in Manhattan currently! I really cherish my Texas upbringing and was lucky to spend summers hopping hay barrels, camping, making movies with any friends that would! I had a lot of friends who I did ballet and theatre with, but also close ones who weren’t in the arts. I think it’s always made me want to tell stories that reach a wide variety of people and backgrounds. And then I love New York City with my whole soul! I wrote at coffee shops and hotel bars around the city and then in my office during the pandemic. The city and the people in it are really true partners in inspiration.
What was your first memory with the horror genre?
The haunted forest in Disney’s Snow White was pretty horrifying when I was four. That was my favorite film growing up. People forget how dark fairy tales are, but my childhood self definitely noticed it. There was also a 1987 version with Diana Rigg as the evil queen (watch it, it’s wild). I would call it the “Snow White Blows Her Head Up” movie because the queen basically explodes at the end during Snow White’s wedding because she’s grown so old — not Snow White, but hey I was four. It sounds worse than it was! But clearly I had an inclination for horror and the more creepy side of stories! My cousin also had a poster for The Lost Boys and Coppola’s Dracula hung in his room. They were scary posters! When I was old enough — probably late elementary school, I finally was allowed to watch those films and they remain some of my favorites today.
What drew you to choose horror as a focus for many of your shorts? Did you go into your career knowing you wanted to write horror films off the bat?
I have been making horror movies since I was about 10 — they’re sitting in my closet on VHS. They’re ridiculous. I think genre is such a great way to explore darker themes in life. I don’t think I set out to make horror films, but let the story dictate the tone and the tone dictate the genre — and also really love playing with typical “genre” boundaries. My first short Interior Teresa wasn’t horror, but played with spiritual elements that did let it live slightly in that world. I also think thrillers, body horror, psychological descent films and slashers (all the above!) can be really fun.
We know horror as a genre is not typically forgiving towards women, and Women of Color, did you have the hope to be a part of that change? Or were you inspired by horror as a creative outlet?
Both! I don’t go into writing or making a film with an agenda. But I try to be conscious of the way women and marginalized groups of people are portrayed on screen in genre films. There are a ton of excellent filmmakers out there now who are re-writing the narrative — Mariama Diallo, Julia Ducournau, Coralie Fargeat, Nia DaCosta… I’m excited to be making and watching horror films these days.
Your two shorts, RIDE & DEEP TISSUE, focus extensively on women. What female tropes do you hope to change with your films?
I think female sexuality on screen is crucial to explore. With Deep Tissue, I wanted to show a woman who was in power and be clear on the consensual nature of the exchange — even if the act is something left of center and quite gory! With Ride, I wanted to show a woman who’s both terrified and empowered by her experience. Obviously this spin class is a hyperbole of the ones I’ve been to, but there is that strange, fine line between being manipulated and being inspired. In both films, the women have their power of choice and are complex — something we so rarely see in past horror films! With my feature, I’m interested in showing a woman who has extreme issues with rage — but from her own perspective, so we’re constantly in question of her actions.
Primarily in the “trendy” exercise world of LA & NY, spin can be seen as very cult-like. What influenced you to make this the premise of your short RIDE?
I was in a class in Manhattan and the lights went out. It was bizarre and we had to do the class in the darkness. No one seemed to mind but me! But the shadows of the riders on the wall, the one single lit candle because the other shattered from the music vibrations. I suddenly felt very uneasy and trapped. I went home and wrote the short that day. Let’s just say it was way darker and then when I wrote it for Hulu I took the core of the idea and shifted it to be more cult like.
As someone who does spin quite often, I found RIDE somewhat amusing along with terrifying, because I didn’t think that was outside a realm of possibility. Was that an intention, or something you thought of when creating the film, that it might be somewhat of an inside joke for those in the spin world, amongst the horror?
Yes! I love hearing that! The movie is a dark, dark comedy in a lot of ways. I’m so interested in people who take these classes so seriously. A part of it is I’m also incredibly inspired by them. I have some pals who are instructors and they’re so amazing and help so many people. I never make films to make fun of things, but to explore the psychological IP behind them. I wanted to tilt the dial just enough to make the film feel both wild and fun but yes, not out of the realm of possibility.
How did RIDE come to be a part of Hulu’s Bite Size Huluween series? Did they approach you? Or did you create it specifically for them? Has this opened up other doors for you?
They partnered with Sundance, who reached out to me to see if I wanted to send through some scripts. I paired down Ride to a 3-4 minute short script, and sent along a few others. And then was thrilled to work with Hulu and Boy In The Castle to produce and shoot it. I think it’s always hard to pinpoint what movie opens what doors, but I think it’s just building your portfolio. And also, just the confidence to direct 18+ people with full dance moves, on bikes, with an extensive lighting set up, and get it done in ONE DAY! That was helpful for my creative journey for sure.
Check out Meredith’s short RIDE.
DEEP TISSUE has been described as a body horror short for the use of the female body. What inspired you to create something with such a deep expression of, as the actress, your body?
Well, moreso it’s Viv’s body. I chose to play the role because honestly, I felt I was the best gal for the job. I’ve studied acting for many years and I knew with someone like Peter Vack playing Sebastian, we could really jam. I have done solo performance pieces in the past way more directly about my body but this was definitely a piece on this character’s journey. I wanted to explore a woman on screen who wants something done to her body that’s both liberating and to a viewer, complex because of its nature. I do think over the drafts of the script, making the film, and releasing it, the themes around body issues have shone through. How does our body image relate to our romantic pursuits, our desires, etc. The short really just serves as a question, and I have a pilot with the two characters that explores their desires more deeply.
The plot of DEEP TISSUE was definitely surprising and so beautifully executed. What is the message you want to share with this film?
Thank you! People find intimacy in so many different ways. I wanted to make a snapshot of a love story, a meet-cute even, where we see two characters find liberation through a shared act of desire. Like any horror movie, I hope that people have a thrill watching it, but that they also have the opportunity to reflect on their own desires, fears, and body issues via this canvas.
Were you intentional with the cinematography & specific shots in DEEP TISSUE? It is so instinctively & thoughtfully shot, that I wonder when crafting a horror around the female body, if there was a level of consciousness to that.
For sure! My DP Justin Hamilton and I had extensive convos around how we wanted to shoot this. I was really inspired by 70s films like Rosemary’s Baby, beauty tutorial videos from the 60s, Dogtooth, Goodnight Mommy — films that took a lot of care in their visual language. I wanted to mix romance with thriller and I find that these films really move delicately and challenge your views of what the characters are doing within them. And yes, I never wanted any shot to feel gratuitous but always narratively motivated — and also a celebration of the female body! This was also so amazing because by the time we shot, I had a lot of trust in what Justin was shooting and my producers Rachel Walker and Josh Wilmott, who also edited it, who were supporting behind the camera.
Watch Deep Tissue on The Future of Film Is Female.
You’re really able to step outside a place of comfort in the stories you tell in the horror genre. As a filmmaker, are you empowered by being able to tell jolting, deep- rooted stories in the realms of this genre?
Totally. I can’t go into writing or making something without having a question to explore or a deep emotion I want to convey. Even with the music video I directed for Paris Jackson, “Let Down,” I really felt this deep connection to the lyrics and tone of the song. I knew going into the project, and working with Paris who was stellar, that I wanted to build a gothic world where this heroine is trying to overcome a toxic partner. We get gory at the end, which was fun, but I also wanted to really build to that moment and earn it. I think making films helps me process things in my own life, and I can only hope whatever I make helps the viewer do the same.
Check out Paris Jackson’s music video “Let Down”, directed by Meredith Alloway.
You have done quite well in festivals. Does this drive you to stick with this genre?
It’s a daily battle to remain inspired and not dependent on outside validation. The festivals we have been able to play have exceeded my wildest expectations! I’m so grateful to have people connecting with the films. I think that’s more what’s important. I think the power of film is that it can be viewed by such an array of people all over the world, and making something that brings people together is really special. I also think festivals and their programmers are really the true champions of up and coming filmmakers, and it’s crucial. It does mean so much to a filmmaker to play a great festival. Claudette Godfrey who programmed Deep Tissue at SXSW, wow, I will forever be grateful that she believed in us. I will say, I think I’d keep making movies, and genre when it fits the story, no matter what. It’s an impulse and a passion and a daily trek!
What’s next for you? Are there any future projects you want to share?
I’m writing a script for a studio that I’m SO excited about. Let’s just say it’s a “haunted” movie and the producer and exec I’ve been collaborating with are amazing — and women! My feature High Priestess is being produced by David Goyer’s company Phantom Four and we’re moving that along in exciting phases. My producers Gracie and Keith, along with my own team Trent and Jordan, have been wonderful. It’s a process that requires a lot of patience, but a story I’m so excited to share with the world. I have a pilot for Deep Tissue, so we’re taking that out as well. I’m also writing a queer Las Vegas erotic thriller I’m hoping to be done with in the coming week. So back to it!
The Killer Shorts Contest hopes our finalists are inspired by Meredith’s journey. She was inspired by a spin class and immediately went home and wrote the short. Meredith has really stayed present along her journey, from creating these two shorts, amongst prior work, to building her resume with several new projects, expanding to features and a pilot. Not to mention her most recent directing job, a music video with Paris Jackson. I myself am very inspired by the way she so eloquently & passionately speaks of being a filmmaker. Make sure you check out Ride & Deep Tissue, and look out for Meredith Alloway’s future work.
You can find more of Meredith’s work at meredithalloway.com/film.
Find Ride on Hulu’s Youtube channel and Meredith’s website.
Find Deep Tissue on The Future of Film Is Female.
For more on screenwriting, visit The Screenwriters Network and join the discord server to network with over 6000 screenwriters.
Featured image: Tiffany Roohani
