1. When did you first become interested in horror?
"My first experience with horror was actually The Wizard of Oz. I was around three or four, and I remember being terrified of what was happening in the movie. It still scares me to this day. But when I really started getting into horror, it was the late 80s. Icons like Jason from Friday the 13th fascinated me, and I decorated my bedroom walls with articles and pictures from Fangoria Magazine. These characters became my heroes.
Another big moment was seeing Gremlins in the theater, which was my first movie theater experience. I loved everything about being in that space and watching the film, and I begged my uncle to take me back several times. He did, and it solidified my love for horror and the magic of the big screen.
Return of the Living Dead was another film that truly captured my imagination. I remember seeing the poster at a local movie theater in 1984 and being blown away by the idea of zombie horror. When I finally saw the movie, I was amazed. To this day, it’s one of my favorite horror films. The story, the characters, and all its elements sparked so many ideas in my mind. It was a defining moment in my love for the genre."
2. When did you first create your own movie or short film?
"I first started creating short films in the early 90s after my dad got me my first camcorder, either in 1993 or early 1994. From that moment, I was hooked. I made short horror films inspired by Scream and other influences, along with mobster movies and music videos.
By 1998, I was ready to create something more substantial. I teamed up with a friend to co-direct a film called Last Night. It was about a nerdy guy who gets bitten by a wolf and transforms into a werewolf, terrorizing the city and forming alliances with other wolves. That project felt like my first real attempt at creating a story-driven film.
In 1996, I had already started studying screenwriting to improve my storytelling skills, and I poured everything I had learned into Last Night. Even today, I feel that story captures the imagination. It was my first real dive into crafting a dynamic horror movie."
3. When did you begin to work in cinematography?
"I started my journey in wedding cinematography in 2006. Shortly after that, I worked on a zombie movie called Zombie Chronicles. For this project, I hired, or rather, a cinematographer volunteered, to help me bring it to life. Watching him work was my first real exposure to what a cinematographer does. I observed how he set up lights, used flags, and adjusted the camera settings. I asked questions and started to understand the craft.
Afterward, I began shooting photography for a wedding photographer, who taught me the ins and outs of lighting, camera settings, and how to manipulate both to achieve the look I wanted. Armed with this new knowledge and what I had learned from the cinematographer, I decided to be the cinematographer for the second part of Zombie Chronicles. This time, I applied everything I had learned to create a more dynamic and polished look without relying on anyone else.
From there, I transitioned into working as a wedding cinematographer, where I really fine-tuned my craft. Over the years, I shot nearly three hundred weddings, which gave me the opportunity to master lighting, camera angles, and storytelling. Along the way, I continued to refine my skills through short films and other projects."
4. Who is your favorite cinematographer?
"To me, the best cinematographer is Roger Deakins. His use of lighting is incredibly unique, especially the way he places lights on the ground to illuminate faces evenly, creating a natural and immersive look. His work captures the imagination and truly enhances the storytelling.
I’m also a big fan of Christopher Doyle, who worked extensively with Wong Kar-wai. I love how he uses color to set the tone of the story and his brilliant lens choices. In a few of Wong Kar-wai's films, they used very wide lenses, and much of the time, they relied on available light, like the neon lights in the Chinatowns they filmed in. It created this gritty, edgy, noir feel that I deeply admire and often aim for in my own work.
Another inspiration is Vilmos Zsigmond, who worked with Brian De Palma in his early career. His hyper-realistic approach to lighting and his use of split diopters created depth and tension in films like Carrie. Lastly, Barry Abrams, the cinematographer for the original Friday the 13th, used handheld camera work so effectively that it added layers of suspense and realism to the horror."
5. Do you prefer film over video?
"Film and video both have their advantages and disadvantages. Video offers immediacy; you can shoot and review footage right away. Digital cameras today are smaller, easier to use, and have excellent low-light performance with advanced sensors. Processing video is much simpler; there’s no need to develop it, and you can easily apply add-ons during editing to achieve a film-like look.
However, nothing truly beats the look and feel of film. Film is unique because it’s a chemical process that offers high dynamic range, beautiful grain structure, and a natural aesthetic you can’t fully replicate with video. That said, film is less flexible. It requires precise cinematography because you can’t see your shots immediately, and the costs of the film stock, processing, and color grading add up quickly.
A great example of blending the best of both worlds is A Complete Unknown, the recent Bob Dylan biopic. Although it was shot digitally on the Sony Venice, the footage was transferred to Kodak 5203 film stock in post-production, giving it the texture of film while retaining the flexibility of digital.
For me, while I deeply appreciate the magic of film, I ultimately prefer video due to its flexibility and advantages. Video offers high dynamic range, accurate color reproduction, and incredible low-light capabilities. I currently own an Arri Amira, which gives me most of the qualities I love about film. While it’s limited to ISO 3200, it’s more than sufficient for the projects I produce. With video, I can achieve a cinematic look while still having the flexibility to adapt and experiment on set. It’s hard to beat that kind of freedom."
6. When did you first start working with horror author Gary Raisor?
"In 2010, after finishing Zombie Chronicles: Part 2, I was eager to take on something new. I started searching for directing opportunities on Craigslist and came across an ad for a Halloween short about a little boy who goes around town on Halloween night causing havoc. I reached out to the producer, Greg Bartlett, and shared a bit about my previous work. He liked what he heard, so we set up a meeting.
During our conversation, Greg introduced me to Gary Raisor's short story Making Friends. I read it and absolutely loved it. The story immediately resonated with me, and that’s when I started working with Gary. I believe this all happened around October or November of 2010.
Another reason I took on the project was because I’d always wanted to create something like the movie Halloween. The scene where the little boy goes around the house and kills his sister left a lasting impression on me, and I felt this story was a way for me to pay homage to that iconic film."
7. Tell us about your role as a movie producer.
"My role as a movie producer allows me to tell stories in every facet while maintaining full control of the production. I usually write my own content, but if I pick up a story from someone else, it has to truly resonate with me. Gary Raisor’s stories resonate because they feature complex characters in intricate worlds, set against dramatic backdrops with just a touch of humor.
I enjoy the power and responsibility that come with being a producer, essentially being the puppet master of the entire production. It’s a role that combines creativity with leadership, and I love bringing every piece together to create something impactful. Producing is something I’ll continue to do alongside my work as a director and cinematographer."
8. Why do you think horror books and movies remain so popular?
"I think horror books and movies remain so popular because we live in a world filled with real horror, but these stories allow us to experience it without the consequences. They let us step into traumatic situations and test our instincts for survival in a safe, fictional setting. On some level, I think our psyche craves that fight-or-flight response to prepare us for real-life challenges, even if it’s just subconsciously.
Stephen King is a master of this. His storytelling is unique in the way he builds deeply immersive environments, often set in Maine, like in IT or The Shining. He has a remarkable ability to delve into the lives of his characters, many of whom are dark and grim, existing in normal settings that are suddenly thrust into supernatural or macabre circumstances.
As far as filmmakers, I admire Alfred Hitchcock when it comes to horror and suspense. He had a technical brilliance that’s hard to match. Hitchcock knew exactly how to use the camera to create subtle, almost imperceptible suspense. Whether it’s through his shot choices, editing, or the pacing of his stories, he instills a lingering sense of discomfort that builds to a compelling and suspenseful experience. I see Hitchcock as a technical director who masterfully weaves storytelling with cinematic techniques to keep audiences on edge."
9. Why do you think people are obsessed with being scared?
"I think people enjoy being scared because it’s a thrill. Think about it, people jump on roller coasters, walk through haunted houses, watch scary movies, or sit in dark theaters expecting to see blood, guts, and chaos. There’s something about that rush of adrenaline that makes us feel alive. It raises our blood pressure, gets our hearts racing, and pulls us out of the mundane.
Reality can often feel boring and predictable, so experiencing fear in a controlled way, whether it’s through a movie, a book, or even a roller coaster, lets us escape into a heightened version of reality. For that brief moment, it feels real, and it’s exhilarating. It’s a safe way to experience danger without any real consequences."
10. Who inspires you?
"Many different people and forms of entertainment inspire me, but I’ll narrow it down to filmmaking. I draw a lot of inspiration from movies shot in the 60s, 70s, and 80s. One of my top influences is Brian De Palma. His use of the camera, lighting, storytelling, and character development is exceptional. He blends these elements seamlessly to create grounded and visually compelling stories.
Take Scarface, for example. His choice of locations plays a huge role in the film. The Miami setting feels alive and authentic, immersing the audience in that world. His camera techniques are equally impressive, often reminiscent of Hitchcock. One of my favorite techniques in Scarface is his use of crane shots. He starts with wide, high-angle shots that establish the setting and then moves in tightly in a single, seamless shot to capture the characters' conversations. This kind of fluid, intentional cinematography is something I deeply admire and strive to incorporate into my own work.
Another filmmaker I admire is Wes Craven. His ability to craft dark, maniacal antagonists stands out, especially in films like Last House on the Left, A Nightmare on Elm Street, and Scream. All of these films share a gritty, harsh tone that makes the horror feel real. In Last House on the Left, for instance, the story shifts from an urban setting to a forest, where the antagonists brutally assault their victims. The 16mm format gave the film a raw, documentary-like vibe that amplified the horror. Sometimes, it’s not about elaborate camera angles or gore, it’s about simplicity and realism, which Craven mastered."
11. What are some of your favorite horror books?
"One of my favorite horror books is The Stand by Stephen King. I love how deeply it explores each character, their struggles, and their motivations in a post-apocalyptic world. The richness of the story lies in how these characters navigate survival while trying to make sense of the apocalypse unfolding around them. It’s a masterpiece of suspense, drama, and horror, capturing both the vastness of the disaster and the intimate, personal battles within each character.
I also really enjoyed the graphic novel series The Walking Dead. Compared to the TV show, the comic delves deeper into the characters, making it grittier, more realistic, and harsher in tone. The way the characters interact and flow together in a world that’s breaking apart definitely helped inspire some of what I did in The Zombie Chronicles. Books, even comics, can have a heavy influence on the stories I produce, and The Walking Dead is a prime example of that.
One last book I’d like to mention is Brian Keene’s The Rising. It brought a fresh perspective to the zombie genre by giving the undead character depth. In this post-apocalyptic world, the zombies come from another place, not of this world, which adds a fascinating layer to the story. I actually discovered this book through an actress auditioning for one of my projects. She mentioned that a lot of my dialogue and story elements reminded her of Keene’s work. It’s interesting how different media, without ever knowing about each other, can share similar themes and ideas."
12. What are some of your favorite horror movies?
"My favorite horror movies vary across genres and time periods. To start, I’d have to include The Shining. It’s a masterpiece that combines psychological horror with stunning cinematography and unforgettable performances. I also love Scarface and Taxi Driver, even though they’re not traditional horror, they’re dark, intense, and grounded in gritty storytelling, which resonates with me. Another favorite series is Back to the Future. While it’s not horror, the creativity and storytelling of the entire trilogy have always inspired me.
Anything by Brian De Palma is also on my list. His entire body of work is incredible. Hitchcock is another director I deeply admire, with classics like Psycho, Vertigo, and Rear Window. These films are timeless, they create suspense and tension in ways that still hold up today.
As for more recent movies, It Follows stands out as one of my all-time favorites. It’s incredibly polished, with a unique and unsettling tone. The setting is ambiguous, making it feel timeless, almost dreamlike, while the flat yet intentional cinematography evokes an 80s vibe without being overtly nostalgic. The concept itself, this virus-like entity that literally follows you, is so fresh and original. The way it builds suspense throughout the movie is unlike anything I’ve seen before.
These films have all inspired me in different ways, from their storytelling to their visuals, and they remain some of my favorites."
13. What are your current projects?
"Currently, I just finished Gary Raisor’s Gran’mama. That project was a lot of fun but also a long journey. It took me about two years to shoot because I was easing back into filmmaking—my last film before Gran’mama was in 2015. Over that time, it was a work in progress with the writing and really deciding if this was the story I wanted to tell. In 2022, I committed to producing the film with Gary, and I think we did a great job. It’s done well on YouTube, and we’re seeing steady growth there.
Next up, I’m working on an alien invasion short film set in a coffee shop. The story follows three survivors who take shelter in a coffee shop, only to realize they’re trapped and surrounded by aliens both inside and out. The suspense builds as they try to figure out how to escape, and the way they ultimately do it is very clever. After that, I’m excited to start working on Old Black Cat by Gary Raisor. To me, it feels like a sequel to Frosty the Snowman, but with a darker twist. The story revolves around a magical hat with the power to animate anything, even a dead body, so you can imagine where I’m taking that!
Beyond these projects, I have several ideas brewing, but these are the ones I’m focused on right now."
14. Please, in your own words, write a paragraph about yourself and your work.
"I’m a filmmaker and photographer with a passion for storytelling, fast cars, motorcycles, and experimenting with new camera gear. I enjoy working independently on my projects but also value the opportunity to collaborate with talented writers and filmmakers to bring creative visions to life.
Born and raised in downtown Manhattan, I now live in the Bronx. My journey into filmmaking began in high school, where I studied theater, which eventually led me to pursue television production and filmmaking in college. I also worked as a wedding cinematographer, which helped me refine my skills in lighting, composition, and storytelling.
After joining the NYPD, I began producing video projects for them, while also diving into my love for horror films. One of my earlier projects was Zombie Chronicles, and since then, I’ve continued to build a collection of films that I showcase on my growing YouTube channel. Today, I’m focused on creating unique and engaging stories while exploring new ideas and collaborating with others in the filmmaking community."
Check out Marvin's website at www.marvinsuarez.com
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