For decades, the name John Carpenter has been synonymous with suburban dread. Long before the term “elevated horror” became commonplace, Carpenter was masterfully mining the terrors lurking beneath the veneer of idyllic neighborhoods. His 1978 masterpiece, Halloween, cemented this legacy, forever changing how we perceive the safety of our own streets. Now, in a thrilling collaboration with producer and showrunner Jordan Roberts, Carpenter returns to this chilling territory with Peacock’s anthology series, John Carpenter’s Suburban Screams. This isn’t your typical horror fare; Suburban Screams plunges into the unsettling reality of true suburban nightmares, making it a must-watch for genre enthusiasts and newcomers alike.
Unlike fictional creations, each of the six episodes in this gripping anthology series draws its horror from real-life accounts. Through compelling reenactments, firsthand interviews with witnesses, evocative archive footage, and tangible evidence like newspaper clippings and photographs, John Carpenter’s Suburban Screams blurs the lines between documentary and horror. In a revealing interview with Awards Radar, Jordan Roberts, the driving force behind the series, delves into the fascinating process of working alongside Carpenter, the meticulous selection of these terrifying tales, and his own deep-rooted appreciation for the horror genre.
Awards Radar: Thank you for taking the time today.
Jordan Roberts: Happy to be here.
AR: The premiere date on Friday the 13th feels incredibly fitting for this series.
Jordan Roberts: Actually, it’s a complete coincidence. (laughs)
AR: (laughs) Serendipitous timing! Having watched a preview of the series, I was struck by its unique approach to the anthology format. What distinguishes John Carpenter’s Suburban Screams from other horror anthologies?
Jordan Roberts: The opportunity to collaborate with John Carpenter was the initial draw – a truly amazing prospect. My deep study of his films, combined with the exciting prospect of working in a genre that seamlessly blends documentary and horror elements, is what truly sets this series apart. Working closely with John and the other talented directors, Michelle Latimer and Jan Pavlacky, we aimed to infuse his signature DNA throughout the series. The goal was to craft an experience where the inherent truth of these stories amplifies the terror, creating a uniquely compelling and genuinely frightening sandbox to play in.
Alt Text: John Carpenter pictured on set of “Phone Stalker” episode of John Carpenter’s Suburban Screams, showcasing his involvement in the series.
AR: It definitely captures that classic urban legend feel – these are the kinds of stories that get passed around, whispered in hushed tones. The way you present them, through reenactments and interviews with those directly involved, amplifies that unsettling authenticity. Where did you unearth these chilling stories?
Jordan Roberts: That’s a great question. It began with an extensive research phase. I assembled a dedicated team tasked with scouring newspapers, relentlessly searching the web, posting inquiries online, and actively seeking out individuals who had lived through genuine suburban horror stories. Our directive was clear: find tales of terror that resonate with a universal audience, experiences that people can relate to within the supposed safety of their own neighborhoods. This search spanned across America and even into Canada, casting a wide net for truly impactful stories.
AR: That grounded reality is what makes this series so impactful. Unlike many anthologies that lean heavily into fiction, Suburban Screams taps into a different kind of fear – the chilling realization that pure evil can exist in the mundane settings of our everyday lives. Watching these stories unfold, imagining them happening to my own family, is genuinely terrifying. The series excels at conveying that raw, visceral horror.
Jordan Roberts: I’m really glad that resonated with you. That’s precisely the emotional core we were aiming for.
AR: Can you elaborate on the selection process? With so many potential stories out there, how did you narrow it down to the final episodes? Was it simply about finding the creepiest tales, or were there other factors at play in your selection process, given the distinct nature of each chapter?
Jordan Roberts: We deliberately ventured into true crime territories. The episode I directed, titled ‘A Killer Comes Home,’ is an incredibly disturbing story… I mean, genuinely horrific. It centers around Alan Legere, a man convicted of murder who returns to his hometown neighborhood to unleash terror. The parallels to Halloween were immediately striking. It was mind-blowing to stumble upon this lesser-known serial killer narrative.
The challenge then became: how do we tell this story without glorifying him? How do we deliver a scary and entertaining experience to the audience while remaining respectful to the real people who tragically lost their lives? The entry point we found was through the lens of the small-town newspaper, represented by the two interview subjects. It offered a unique blend and perspective to tell the chilling story of a psychopathic serial killer operating in suburbia.
Alt Text: Scene from “A Killer Comes Home” episode of John Carpenter’s Suburban Screams, highlighting the true crime aspect of the series.
AR: Absolutely. Your episode, in particular, definitely evokes that Laurie Strode versus Michael Myers tension, especially in the music and the cinematography. It achieves that fictional horror feel in the best way possible. The series overall effectively conveys that true terror, that human capacity for evil that Carpenter captured so powerfully in Halloween.
Jordan Roberts: Ultimately, it’s all about emotion, isn’t it? Regardless of whether you’re working with fiction or nonfiction, the core is human emotion – exploring what people endure under extreme circumstances.
AR: Were there any stories that, despite their creepiness, you ultimately had to pass on?
Jordan Roberts: Oh, absolutely. Tons of stories were passed on. Hundreds, in fact. A crucial criterion was believability, a foundation in fact. While you might include a ghost story based on someone’s personal account, we needed something more substantial. Was there corroboration from other people? Was there any mention in news reports or documented evidence? We maintained a high bar for realness.
It’s intriguing to create a series that encompasses both ghost stories and actual crime stories, yet seamlessly weaves them into a cohesive narrative. So, yes, anything that felt fabricated or lacked corroboration was ultimately passed on.
AR: Each episode must require extensive research, given that they involve real people and real events. Can you walk us through the research process in more detail?
Jordan Roberts: The process is heavily research-intensive, as you pointed out. My role as showrunner involved creating comprehensive vision decks, detailing the cinematic language and overarching aesthetic for the entire series. This was crucial for ensuring visual consistency and tone. My job, in collaboration with John, the other directors, and our story teams, was to ensure we were all on the same page in conveying a specific feeling.
This involved compiling numerous reference images and detailed written descriptions outlining our creative goals, which were then disseminated across our large team. Then comes the interview phase. I personally conduct extensive interviews with everyone involved, which are then edited into what we call “radio cuts” – essentially, storytelling bites.
I would interview each person for up to five hours at a time, aiming to delve deeply into every facet of their experience. It was essential for me to understand the full context, regardless of whether every detail would make it into the final episode. These radio cuts are then reviewed in the editing room, forming the basis for the production plan. We then move to Prague in the Czech Republic for the cinematic filming portion – essentially shooting a movie for each episode.
Finally, all these elements are brought together with a team of incredibly talented editors to create the finished product. And in terms of the interviewees, the reaction has been overwhelmingly positive. We maintain transparency throughout the process. They all have my personal phone number, and I keep them informed about the liberties we take creatively. I try to involve them as much as possible because, at the heart of it, everyone involved has experienced some level of trauma. There’s definitely a hand-holding aspect to it. We’ll see how they feel when it airs, but I remain in contact, checking in on their well-being and also preparing them for potential online reactions – it’s the modern world, after all. This support system begins before filming and continues through the airing of the episodes.
AR: Beyond showrunning, you also directed an episode. How do you mentally prepare to immerse yourself in these dark worlds? It’s a heavy space to inhabit. Were you always drawn to the horror genre?
Jordan Roberts: I’m a fan of filmmaking in general, and horror is certainly a genre I appreciate. More broadly, I’m drawn to creative filmmaking and compelling storytelling. Whether it’s fiction or documentary, if a story fascinates me, I naturally gravitate towards the darker aspects of it.
The human condition, particularly under duress, is endlessly fascinating to me. What’s unique about horror is its capacity for creative expression and the manipulation of primal emotions like fear. I find it stimulating to explore people’s real-life experiences, then translate that into a creative framework that can evoke genuine fear in viewers, but also, hopefully, a deeper sense of the profoundness of life when confronted with the supernatural or terrifying events. There’s a depth to it that resonates with me, and I find it creatively fulfilling.
Alt Text: A chilling image from the “Bunnyman” episode of John Carpenter’s Suburban Screams, representative of the series’ horror themes.
AR: Growing up, were there any particular horror films or directors that influenced you?
Jordan Roberts: Absolutely. I have to start with Halloween, given we’re discussing John Carpenter’s Suburban Screams. The Shining is another cornerstone, and for sheer terror, The Exorcist, the original, is probably the scariest film ever made, in my opinion.
AR: You’ve named a significant portion of the Mount Rushmore of horror right there. Working with John Carpenter, a living legend, must be an extraordinary experience. What was your collaborative process like in developing the series and throughout production?
Jordan Roberts: He is, after all, John Carpenter. He’s got that punk rock sensibility, exactly what you’d expect. Our collaboration began when I met with him and he essentially said, ‘What have you got?’ I presented my ideas, and his feedback was direct and to the point – ‘Okay, fine. I don’t like this, I don’t like that.’ When John speaks, you listen.
My deep familiarity with his filmography, having grown up watching them and then re-studying them in film school, allowed me to understand his cinematic language and how he achieves those specific emotions. While no one can replicate his genius, I could at least interpret his techniques.
We collaborated closely in the initial development phases, working on the vision deck and story selection. He reviewed the stories, and some resonated more with him than others. You asked about stories we passed on – if John rejected them, they were out. Same if I didn’t think they fit. It was a truly collaborative process. John was initially slated to direct an episode and chose “Phone Stalker,” which particularly resonated with him. I conducted the interviews, which he attended – he hadn’t done interviews for this type of project before. We established the visual style together. He was incredibly focused.
I’m generally unflappable, but having John Carpenter looking over my shoulder definitely heightened the pressure. ‘Holy shit,’ I thought, ‘better get this right.’
We refined details together. I did my best in the interviews – as I mentioned, I spend up to five hours with each subject. He questioned my long interview times, but ultimately went along with my process. He approved of the overall look and feel. We then proceeded with shoot planning. Sandy King, his partner, was also instrumental throughout this process, adding another layer of collaboration. He worked closely with his team, the actors, everyone involved. I took a step back, observed, learned, and supported him throughout the episode’s production.
AR: That actually leads into my next question. As an experienced filmmaker yourself, did you glean any specific insights or lessons from John during this collaboration?
Jordan Roberts: Oh, without a doubt. Witnessing him direct firsthand was a blast. His intense focus on working with actors, the extensive prep time he dedicates, yet maintaining a casual, approachable demeanor – he’s constantly working with them right up to the moment of filming.
On set, he’s incredibly decisive. While I might have numerous ideas swirling, he makes definitive choices and moves forward. I learned from observing his process, and also from re-examining his films through a new lens. I’m still processing the entire experience, but I believe the series turned out remarkably well. The music, too, is fantastic.
AR: To wrap up, could you describe Suburban Screams in three words?
Jordan Roberts: Oh, I’m not sure if it’s three words… The horror is real.
AR: “The horror is real” works perfectly. Thank you so much for your time, and best of luck with the series.
Jordan Roberts: Thank you. I appreciate your time as well, and I’m glad you’re enjoying it.
All six episodes of John Carpenter’s Suburban Screams are now streaming on Peacock. You can watch the series trailer below.
