It Started With A Logline: An Interview With Killer Shorts Finalist Jeremiah Lewis & Director Cameron Gallagher

Killer Shorts is very excited to bring you this interview with the Season 1 Top 10 Finalist, Jeremiah Lewis, and the director + founder of Black Mountain Visuals, Cameron Gallagher. Jeremiah placed in last year’s contest with his short script The Rickety Man. As we know, a literary manager cannot represent a writer off a short script alone. Based on Jeremiah’s logline being listed on the Killer Shorts Contest site, Cameron decided to option and direct Jeremiah Lewis’ The Rickety Man. Jeremiah’s logline is as follows:

A distant and grieving widower learns one of his children is grieving in her own, terrifying way.

With our current climate, grief is a concept we have come to know all too well. The Rickety Man really explores this idea with intention and compassion for the personal experiences with grief. Cameron believes a good horror film, at it’s core, is a great drama first and foremost. If there is a story behind the monster, that will make a successful horror film. Cameron saw this in Jeremiah’s logline alone, his exploration of grief and the human experience really stood out. Jeremiah & Cameron had humbling support during their Kickstarter experience for the film. The Kickstarter campaign was very successful, and as Jeremiah puts it, “I’ve seen much more positivity (the healthy kind), and that speaks to the quality of the writing and film community.” The help of their backers, and the exposure from the Killer Shorts site, has made The Rickety Man short a huge step in their careers, and hopefully will develop into a feature. Read my interview with writer Jeremiah Lewis, and director Cameron Gallagher of The Rickety Man, below.

Conversations With Jeremiah & Cameron

Where did you grow up and how has that influenced your writing? Did your surroundings influence your short, THE RICKETY MAN?

J: I grew up in Southeastern Virginia, which is in some ways idyllic but nowhere near my sense of connection with the English countryside. Thankfully, I grew up reading books set in England and dreaming of far off lands.

Where I lived was a wonderful mixture of country roads and extensive forests. My brother and I used to build forts in the woods and play in the creek that ran through it, and went on hour-long hikes deep into untouched areas. There, the trees are older, a bit haunting, and the thickets are tough to get through and you tear your clothes easily on brambles.

Those woods can be unsettling, if you stop disturbing the leaves and just stand and listen. There are voices in the wind, stirring the trees, and it is mournful, and a little bit peaceful, but mostly you begin to realize how small you are in the world and wonder what things lurk in the deepness of the forest.

Can you, the best you can, give a brief synopsis of the script?

J: Without giving too much away, the story is told primarily in voiceover from the main character, Edward, a widowed father of two children, Mathilda and James. The voiceover is really Edward writing a letter to his sister-in-law Liza—”Auntie Liza” to the children—and in it he is describing how their grief over their mother’s death has slowly lessened over the past six months and that he begins to feel hope of some return to normalcy. But then the letter takes a turn, and the children’s behavior gets more disturbing, which we see, as well as some strange things occurring around the estate. Dead birds and house staff disappearing, things like that.

The whole structure is meant to evoke a letter written over many days or even weeks. As the children’s behavior grows more bizarre, Edward refuses to acknowledge that they are possibly under the influence of some entity they refer to as the “Rickety Man”, who they say lives in the woods beyond their estate. But events quickly spiral into madness and… well, that’s where I’ll leave off and hopefully you’ll watch the film.

What was your inspiration behind THE RICKETY MAN?

J: Everyone dreams of coming up with a new monster, so the novelty of creating this primal, mysterious entity was certainly a fun part of the process of writing, but the truth is, like most projects, writing is iterative and inspiration shifts and flows as time passes, as you get feedback and as you yourself change. 

I love period horror, and feel like there’s a richness in this particular place and time period (England during the Regency). We all think of Jane Austen and manners romances, but what if we were to explore this from a darker side? What would it look like? So immediately that felt to me like fertile ground to explore.

Initially, there was no monster, only the mystery of this girl who kept visiting the woods and swamp behind her house, and how her behavior was becoming strange. Her brother also exhibits his own strange behavior. As the script evolved, it became clear these children were being affected by something. And where was the mother? I realized this was all a kind of metaphor for some deeply realized emotional response to a tragedy in their lives.

Grief has become a very familiar feeling for a lot of people due to the current state of things. What made you choose grief as a device for the concept of this horror script? 

J: Initially I was just playing with images and mood, building a tone of somber mystery. Grief wasn’t something I intentionally set out to explore. As the theme developed, it felt so natural that something was deeply wrong in this family and yet on the surface, as evidenced in Edward’s letter that he’s writing, it seems like things are getting better. But the truth about grief is, it is latent and ever-present in our lives. Even years later it can strike and catch in our throat as some smell, or a memory, or a vision of something forgotten or suppressed comes back with a vengeance and wrecks us.

Sometimes, grief can have the appearance of a debilitating, almost toxic energy. I have to be careful here, because grief is personal and intense, and to outsiders that looks and feels strange and scary. And I suppose that is part of what this script is exploring—the strangeness of grief and why it touches every person so differently. And children are affected in many ways most strangely, because they are deeply in tune with their emotions, in ways many adults aren’t (as the main character Edward is not), but at the same time they may not have the vocabulary or knowledge to express that grief in ways that aren’t destructive.

That’s not to say adults can’t be destructive in their grief! And so in part, this script really is just exploring what the effects are on this family and the fallout from unexamined trauma.

How did you come to write this short for the Killer Shorts Contest 2020? Did you already have the script, or did the contest prompt you to write THE RICKETY MAN?

J: I had written a version of the script a few years back, but forgot about it. When Killer Shorts announced their opening dates, I thought I could dust it off and submit it. I let a few people read it, got some excellent feedback from the wonderful community of supportive screenwriters, and was able to submit it well in advance of the deadline.

Cameron had this to say about his experience with the Killer Shorts Contest:

“A film friend of mine, Julian Terry, was a judge, and I had seen his posts on Instagram, and originally I had mistaken it for a short film competition, but after visiting the site, I was excited to read some scripts from writers.”

Cameron Gallagher

Killer Shorts is very proud to have Julian Terry as a judge. Read our interview with Julian here.

Were you surprised that Cameron Gallagher reached out to option & direct THE RICKETY MAN based off your logline on the Killer Shorts Contest site? How did that process go?

J: I was a bit surprised. I had originally intended to produce this as an animated short film. I had begun storyboarding and testing out animation software when Covid-19 hit and my life got a little complicated. Suddenly I was working 60+ hours to keep up-to-date with my clients’ needs as they navigated the pandemic. The extra time I thought I would have vanished. And so I shelved the script with the hope that I could revisit it when things calmed down. When Cameron emailed me out of the blue I didn’t think anything of it, because I have sent the script to dozens of other people—mainly other writers—who wanted to read a Killer Shorts finalist script in preparation for the 2021 Killer Shorts competition. Even when Cameron emailed me to ask if we could get on a zoom call to talk about the script, I still didn’t really process what his intentions were.

Once we started talking, it was clear he and his producing partner Zach Pollier shared the same vision for the production that I did. The script is pretty heavy on atmosphere and the sense of dread lurking just off the page—promising something that the reader wants to know more about, so by the end the release occurs in a kind of gory culmination of all this built-up tension. I had a chance to check out a few of their other films and I could see a lot of love in the productions. It was clear they had a talented team behind them. And Cameron’s enthusiasm and faith in the project really gave me the sense that the script would be in good hands.

We took a few weeks to hammer out option details, and the holidays slowed things down somewhat, but by early January we were formally in partnership and they began the process of pre-production and planning the Kickstarter campaign.

Picking a logline off a site, to option, can be a big leap. Why did the logline for Jeremiah’s THE RICKETY MAN stand out to you? 

C: Jeremiah’s logline for The Rickety Man really stood out because it felt like such an emotional story about grief, and he lets the creature be second to that. I feel like the best horror films know how to be dramas first, and let the horrific events speak for themselves.

You can read more about last year’s finalists & their scripts on the Killer Shorts Contest site.

Were you always interested in writing horror shorts, or horror in general? 

J: I’ve always been into horror, but up until about two years ago I had never written any horror at all. I think I was too scared to tackle it. There’s a lot to live up to and so many talented writers are doing amazing things in the genre. How could I possibly measure up, much less bring anything new? And I still sort of feel that way, but at least I’m over my fear and have decided writing in a genre I enjoy makes the feelings of inadequacy a little less of an obstacle.

I began enjoying writing shorts once I jettisoned my adherence to a traditional, mainstream Western storytelling sensibility that I tend to maintain when writing features or TV. I’ve embraced the idea that shorts can (and should) be a bit looser structurally. I think shorts are an opportunity for writers to be a bit more free to explore and be experimental with form. They are typically more affordable, giving you the opportunity to make them yourself (or have a trusted team like Cameron’s take it on). Certainly it’s a relatively lower-risk opportunity to showcase voice and vision in a way you may not be able to achieve once you begin playing with other people’s money, so to speak.

Have you always been interested in making horror films? What are your goals for your career?

C: I’ve always had an absolute love for the horror genre. I saw Friday The 13th WAY too young, and it terrified me so bad, but gave me a rush that I love to chase. I also love that horror is one of the only genres where filmmakers are pushing the boundaries of the stories they tell, while still trying to entertain. It’s like a magician. ​​Over the years I’ve directed a bunch of short films, even a few (The Forgotten & The Alive) landing on Crypt TV.​​ My goal is, and has always been, to be a feature film director on a large scale, and in particular directing horror/sci-fi films. I’m excited for The Rickety Man to be another big leap in those steps.

Is there anything you can tell me about the future of THE RICKETY MAN and how working with Cameron has expanded the script? Did you discover new things about your writing through this process?

J: This is, along with the short becoming a filmed reality, what I’m most excited about. I actually had begun writing a feature version of this story before Cameron contacted me—this was after a number of people strongly encouraged me to adapt it into a feature—so when he called and we began chatting about the future potential of this project, it felt a bit like things were falling into place.

I took the premise that everything in the short was canon. But other than that, I gave myself the freedom to create whatever new story I could think of; my only rule was it needed to at least have a passing connection to the events depicted in the short.

I ended up writing the feature script over about a seven week period. I wrapped up the first draft just a few days after Christmas, and it’s been sitting on my desktop ever since. I’ve been swamped on a big rewrite for another feature project I can’t really talk about yet, so no one has even read that first draft. I’d like to take another pass on it before I send it out to a few trusted friends to read and give me notes.

But, once it’s ready, I’ll pitch it to Cameron and Zach (producer) and we’ll continue to shape the story until we’re happy with it, and then the plan is to take the script and the film around and pitch the project. With a strong script and a wonderful proof-of-concept film, I would say there’s a non-zero chance of at least catching a few people’s attention.

When asked about Jeremiah as a writer & creator, and why he wanted to partner with him on his project, Cameron had this to say:

“Instantly, I realized what an amazing writer Jeremiah was! His descriptions were SO vivid, yet didn’t feel like they were tying me down, as the reader, to allowing my imagination to fill in the blanks. His sense of thematic storytelling was really apparent, and I feel like it lined up so well with the films I like to make!”

Cameron Gallagher, Founder & Director at Black Mountain Visuals

Was this the first time you’ve been in production on one of your projects? What has that process been like during COVID?

J: I was in pre-production on another short horror script; we had a SAG cast, we had a perfect location (my house!) and had a shoot date set. My writing and producing partner were one month out from filming when we made the reluctant decision to postpone the shoot. We didn’t have the budget for extra medical costs or insurance or any of the things I think a film set should have, plus it was very early days of COVID so no one really knew anything and we were operating from a lack of information, which didn’t help. 

I have a couple of smaller single-person projects that I’ve got on my plate, silly experimental films that I still would like to finish, but these are nowhere near the level of The Rickety Man in terms of logistics or personnel. 

Before COVID, of course, I’ve produced and directed (and written) a number of short films, and I’ve been lucky enough to produce a feature film (I was also the editor). The production process is, COVID or not, challenging and expensive and exhausting, and I wouldn’t hesitate to recommend it to anyone. Filmmaking is a rewarding and creatively fulfilling collaborative process that is, except in a few outlier cases, difficult, if not impossible, to achieve without community support (whether that community is a film crew, or quite literally a community who has your back and supports your artistic endeavors emotionally, financially, or logistically). I think that’s what I’m most drawn to—the possibility of a group of people brought together to achieve a singular artifact that has the power to move you, to change your life or your heart or attitude or beliefs about the world. It’s such a powerful medium, and even after 100+ years we’re discovering its impacts on us as a culture and as individuals.

What was the Kickstarter process like? Were you surprised at the success, or confident that you had a great project in THE RICKETY MAN?

J: The level of support and enthusiasm for the project expressed by the writing and film community on Twitter has been nothing less than humbling. I believe most people want to help in whatever way they can. They want to support their fellow creatives, and they want to be part of something, even if it’s only by sharing a link to the Kickstarter campaign page or by retweeting a request for support.

But none of that is possible without first having built up that trust and friendliness with others. It speaks to how personal filmmaking ultimately is. You can get things done if you’ve set up the foundations for long term relationships first. None of this is meant to be self-serving, though. If you’re only doing it to bank “an ask” for later, you’re doing it wrong.

Am I encouraged? Absolutely. People are brilliant. They surprise you with their kindness, generosity, openness, and willingness to collaborate and celebrate others’ achievements. They defend each other against trolls. They build up each other, encourage each other, and while I have seen some negative stuff online, I’ve seen much more positivity (the healthy kind) and that speaks to the quality of the writing and film community. I would say I am the lucky recipient of that, and I’ll forever be grateful to everyone who came out to support the project in big and small ways.

C: Kickstarter was something that I had been toying with for some time now, but after talking with lots of successful project owners, it was really apparent that it would be a ton of work and one of those “this is your shot” moments. I felt like The Rickety Man was that moment. Especially with KickStarter, you have to think about audience appeal, and with a title & concept like The Rickety Man, I felt it was the perfect project to launch. Also, with this being a period piece, we basically HAD to raise those funds in order to make this the way the script intended. ​​I would be lying if I said we weren’t nervous, especially in the first week or so where it was just little drips and drops. After it took off, we just started to see the support flood in from family, friends, and even strangers, and to me, that was the most insane part of it. These were perfect strangers giving us money, because they believed in the project, and us as creatives, and that was amazing to see.

Check out The Rickety Man Kickstarter.

What is your takeaway from your experience being a finalist in the Killer Shorts Contest 2020? How, would you say, this experience impacted your career or how you move forward?

J: I really enjoyed entering the competition. I love the work Alison Parker and her team have done to really encourage writers to write more horror shorts, and it’s clearly working, as they had nearly 1,000 entries in the 2021 competition (I was one of them). I will say that contests are a bit like the lottery; I would never hang my hope on them in terms of pushing my career, but they can be very fun to enter, and Killer Shorts is wonderfully affordable. Contests can be a huge boost, but ultimately the direction and trajectory your career goes is still mostly in your hands. I am grateful that I had the opportunity to participate in Killer Shorts. The Rickety Man being a Top-10 Finalist meant that the logline and my information was “out there” for Cameron to find, which it would not have been otherwise. Sometimes, that’s the difference.

Where do you hope to see yourself in the next 5 years?

J: Let’s dream big, shall we? I’ve sold a number of feature screenplays. I’ve got three television shows in development. I’ve also been buying land in New England and developing a natural sanctuary for a low-cost writer’s retreat, somewhere for people to refill their creative well and reconnect with nature, with themselves, and with a small cohort of fellow creatives. I’ve just pitched a new feature project to write and direct, and they’re looking at a mid six-figure budget.

In all seriousness, I have stopped looking too far ahead. Not because I don’t have hope or optimism for the future, but the world is moving very quickly and our expectations and hopes may not be in alignment with whatever reality is coming around the bend.

I can say that my five year plan consists of continuing to push myself creatively, continuing to encourage other writers and establishing a platform for other creators to produce their own work. I would be thrilled to be a producer and a sponsor, especially for marginalized voices—not to impose my own vision and voice, but to encourage and assist in amplifying theirs. Whatever comes, I will be able to say, I’ve been a kind person, and that’s better than being cruel and successful.

Killer Shorts hopes that Jeremiah’s story encourages you to, not only submit a short script to our contest in the future, but that it is certainly possible to build a career off this experience. With Cameron Gallagher discovering The Rickety Man logline on our site, he was able to option the project, and take the film into production. The success of the Kickstarter has kicked the project into full gear. Jeremiah was inspired to dust off an old script after hearing about the 2020 Killer Shorts contest, and from there he placed in the top 10. Based off a logline, Jeremiah’s script is now being produced. Anything can happen writers! Just keep at it!

The Rickety Man site coming soon.

Jeremiah Lewis on Twitter.

Jeremiah’s Coverfly profile.

Cameron Gallagher on Twitter.

Zachary Porlier on Twitter.

For more on screenwriting, visit The Screenwriters Network and join the discord server to network with over 6000 screenwriters.

Images provided by Cameron Gallagher.