HNN Exclusive Interview: Jason Horton (The Apex Predators Club)

Indiegogo campaign now live: http://www.apexpredatorsclub.com/

How did a partnership with the Mahal Empire come about?
I hit up the Mahals about a year ago, pitched them on the idea of me writing and directing a feature for them. They were into it, but it took a little time to land on the right project—something that made sense for both of us. Then I threw The Apex Predators Club at them, and that one hit. They greenlit it almost immediately. It had that mix of big, fun, and ridiculous that fits their style, and honestly, it’s the kind of movie I love making. So yeah, it took a minute to find the right one, but once we did, it was full steam ahead

Is it safe to say you are a fan of the straight up MONSTER movie?
Oh, 100%. I grew up on monster movies—practical effects, guys in suits, weird creature designs—all of it. There’s just something about them that hits different. They can be scary, fun, gory, even kinda goofy sometimes, but they’re always entertaining. And honestly, they just lend themselves to more creativity. You’re not tied down by realism. You get to build a whole world around these things.

So yeah, The Apex Predators Club is me fully leaning into that. It’s got big creatures, practical effects, crazy action—it’s the kind of movie I’d wanna watch. I don’t see enough of these getting made on the indie side at this scale, so we’re just going for it.

What makes The Apex Predators Club a special project?
at least to me—is that it’s the kind of monster movie I don’t see enough of anymore. It’s got big creatures, insane action, and practical effects, but it’s also got this unique hook: a bunch of billionaires thinking they’re the apex predators, only to realize they’re way lower on the food chain than they thought. That flips the usual dynamic and makes it a hell of a lot of fun.

Plus, we’re really going all-in on the visuals. We’re doing warm, cinematic exteriors at night, cold blue interiors—just a really slick, almost old-school action-horror look. It’s not just a ‘point-and-shoot’ indie monster flick. We’re aiming for something that feels big. And honestly, I just love making this kind of movie. Monsters, mayhem, and a little bit of biting satire? Yeah, I’m all in.

The Apex Predators Club is kicking into full gear on Indiegogo, what is the most exciting perk?
I think the most exciting perks are the ones where people get to be involved with the production—where they can Join the Club for real. It’s not just about supporting the movie; it’s about actually stepping into it. Whether that means being an extra, getting a producer credit, or even getting hunted down on screen—those are the kinds of perks that make crowdfunding fun.

I love when backers become part of the process because indie films like this thrive on that kind of energy. It’s not some big studio project where everything is locked in before the cameras roll. There’s room for fans to jump in, be part of the chaos, and actually help make the movie happen. So yeah, if you’ve ever wanted to be in a monster movie—or just watch a billionaire get torn apart up close—now’s your chance.

What lessons do you take with you from A Hard Place and Craving?
The biggest lessons I take from A Hard Place and Craving are all about efficiency and adaptability. Both of those movies were made under tough conditions—limited budgets, fast-paced schedules, and just the usual chaos that comes with indie filmmaking. And what I learned is that you have to be flexible. Plans are great, but things will go sideways, and if you can’t pivot fast, you’re dead in the water.

With A Hard Place, we leaned heavily into just making it work—not having storyboards, embracing the unpredictability of locations, and working with what we had in the moment. That approach actually helped shape the raw, gritty feel of the film. With Craving, I learned a lot about managing big ensemble casts and making sure every character felt like they mattered, even in a high-concept, creature-driven story.

For The Apex Predators Club, I’m bringing all that with me—staying adaptable, making sure every character pops, and making the absolute most of every resource we have. And, of course, keeping the energy up. Because at the end of the day, no matter how tough the shoot gets, the audience doesn’t care about your struggles. They just want a kickass movie.

In a lot of ways, it seems like “right now” is the most exciting time for indie horror films. Would you agree?
For making them, for sure. Gear is cheaper than ever, you don’t need a massive crew to pull off high-quality visuals, and distribution is wide open—anyone can get their film out there. That doesn’t mean it’s easy, but the barriers to entry have never been lower.

The flip side is that because it’s easier to make movies, the market is insanely crowded. There’s just so much content out there, which makes standing out harder than ever. Back in the day, if you finished a halfway decent horror flick, you had a good shot at finding an audience. Now? You need a great hook, smart marketing, and ideally, some level of built-in hype before you even release.

But if you’re willing to hustle, adapt, and actually learn the business side of indie horror—not just making the movie but figuring out how to sell it—this is still an incredible time to be doing it. The demand for horror isn’t going anywhere, and audiences are always hungry for something fresh. It’s just about cutting through the noise.

What do you need to do to make an indie horror film stand out in the crowd?
First off, you need a killer hook. The days of ‘just make a good movie, and people will find it’ are long gone. There’s too much competition. Your movie needs to have something that grabs people immediately—a unique premise, a striking visual style, or a marketing angle that makes people stop scrolling and pay attention.

Second, you have to build hype early. Too many indie filmmakers wait until after the movie is done to start thinking about marketing. By then, it’s already too late. You need to be teasing your film, growing your audience, and making people curious before you even shoot.

And third, you have to deliver on what you’re promising. If you market a brutal monster movie, you better bring the monsters. If you promise crazy gore, don’t hold back. Indie horror fans aren’t looking for safe, watered-down movies—they want something that goes hard, that feels different from the studio stuff.

Finally, you need a smart release strategy. Just dumping it on streaming and hoping for the best doesn’t cut it anymore. You need to know your audience, figure out the best way to reach them, and treat your movie like a business—because at the end of the day, that’s what it is.

So yeah, standing out isn’t easy, but if you’ve got a strong concept, a solid game plan, and you’re willing to actually put in the work to market the damn thing, you’ve got a shot.

What have you learned from the Mahal brothers?
Honestly, they’re working at a slightly higher level budgetarily than I have in the past. They’ve been at this a long time, and they’ve built a system that allows them to keep cranking out movies at a pace most indie filmmakers would kill for. It’s still early days, but one of the biggest things I’m learning is how to let go a bit.

On most of my past productions, I was the chief producer, handling everything from casting to logistics to post-production. I had to be in control of every little piece just to make sure the movie got made. But here, with the Mahals running the production side, I can actually focus on just directing. That’s pretty exciting. It’s a different kind of challenge—figuring out how to bring my vision to life while working within their established system—but it’s also a huge opportunity to grow.

I think the biggest takeaway so far is that indie filmmaking doesn’t have to be a one-man-band operation. If you have the right team, you can scale up without losing what makes your work special. And that’s something I’m definitely keeping in mind moving forward

Without giving too much away, can you tell us what kind of monsters we can expect to see in The Apex Predators Club?
There’s a mix of classic and more off-the-beaten-path creatures in The Apex Predators Club. We’ve got some familiar monster archetypes—things horror fans will instantly recognize and love—but we’re also pulling in some creatures you don’t see as often. The goal was to create a lineup that feels both nostalgic and fresh, so you get that thrill of seeing something new while still tapping into the primal fear that makes monster movies so fun.

And without giving too much away, let’s just say the ‘apex predators’ in this movie aren’t limited to just one type of creature. There’s variety, there’s scale, and there’s definitely teeth. The billionaires think they’re the hunters, but they’re about to find out real fast that they’re way outmatched.

Let go back in time to your childhood, what monster movies inspired you back then and reach where you are at right now?
The Thing, for sure. That movie is still a masterclass in practical effects, tension, and just sheer paranoia. It’s one of those films where every time I watch it, I catch something new, and the way it builds dread is just perfect.

And Evil Dead 2—if you count that as a monster movie—was a huge one for me. It’s got that perfect mix of horror, comedy, and over-the-top energy that just makes it endlessly rewatchable. Plus, the DIY spirit behind it really showed me that you don’t need a massive budget to make something cool as hell.

I’ve always loved werewolf stuff, too—The Howling and An American Werewolf in London are both high up on my list. They just get what makes werewolves terrifying. That transformation scene in American Werewolf? Still one of the best practical effect sequences ever put on film.

And The Monster Squad was a huge influence. It’s fun, it’s got personality, and it treats the classic monsters with respect while still being a blast. That movie was a big part of why I love ensemble casts in horror—it makes the world feel bigger, like there’s so much more going on beyond just the main story.

All of those movies shaped the way I look at horror—practical effects, strong characters, and a sense of fun, even when things get brutal. That’s the energy I try to bring into my own work.