Interview with Ed Crimi - Owner and Curator of Vampa Museum by David Kempf

 Ed Crimi  - Owner and Curator of Vampa Museum in Doylestown, PA

1. When did your group first become interested in horror?

My fascination with horror and the paranormal began when I was about 13 or 14 years old, growing up in Brooklyn. I remember listening to my father tell extraordinary stories about his uncle and great-uncle, both of whom were full-time priests and exorcists in Catania, Italy. Those stories sparked a fascination with the supernatural that has stayed with me throughout my life.

2. Did you always think a full time museum was the right venue for your subjects? How did you come up with the name VAMPA?

My daughter Francesca came up with the name VAMPA while we were searching for a name for the museum. We decided on Vampire Art Museum of Paranormal Activity, which later also evolved into Visual Arts Museum of Paranormal Antiquities. I was excited about creating the museum, not only as a place to share my passion for the supernatural but also as a stepping stone toward ministry work, which has now become an important part of what we do.

3. Do you prefer the Halloween season over the rest of the year?

Not necessarily. I enjoy it because people tend to be more interested during that time of year, but personally, I love all the seasons.

4. Is there another genre or subject like murder mystery that you are interested in?

I’m more interested in philosophy, psychology, and neuroscience because I believe that understanding the human condition requires exploring the connection between spirituality, psychology, and neuroscience.

5. When did you first decide to make vampires the central subject of your museum’s exhibits?

About five years ago, I realized that my extensive collection of vampire-related art and antiquities had grown to the point where I wanted to share it with the public. That was when I decided to make vampires the central focus of the museum.

6. Do you do any props or production and mask making yourself?

No, we don’t do that. However, we do rent out some of the magnificent objects from our collection for use on movie sets.

7. Do you believe viewers need to horror fans in order to enjoy your work?

Absolutely not. We are an academic art museum that explores the age-old battle between good and evil. People are fascinated by the mystery, history, and deeper meaning behind this timeless struggle.

8. Why do you think horror books and movies remain so popular?

I believe our fascination with vampires also has a neurological and psychological connection, which helps explain why they have remained so popular throughout history. At the heart of it is our fear of death, the concept of memento mori, the reminder that we are all mortal. Vampires, on the other hand, represent the possibility of immortality, something that has fascinated humanity for centuries.

9. Why do you think that people are obsessed with learning something new about classic films like Dracula or Nosferatu?

Films like Dracula and Nosferatu are beautifully made and visually captivating. They demonstrate that you don’t need excessive gore or violence to stimulate an audience’s imagination. Their atmosphere, mystery, and artistic qualities continue to fascinate viewers, which is why people remain interested in discovering new details about these classic films.

10. Who inspires you?

Jesus Christ inspires me because of his message and teachings. I also admire Muhammad and Buddha, and I remain open to different religious beliefs and philosophies. Our ministry is founded on the principles of love, compassion, and charity, values that I believe transcend religious boundaries.

11. What are some of your favorite horror books?

I love anything written by Bram Stoker. His work has always fascinated me, particularly the way he combines horror, mystery, and the supernatural.

12. What are some of your favorite horror movies?

Although it’s not a movie, I’ve always loved the television series The Night Stalker. I’m also a fan of just about every Dracula film ever made.

13. What are your current projects?

Some of my current projects include expanding the museum and growing our ministry so we can reach more people, offer greater support, and make a meaningful difference in their lives through love, compassion, and charity.

14. Please in your own words write a paragraph about yourself & your organization’s work.

I have spent much of my life fascinated by art, history, philosophy, psychology, and the mysteries of the human condition. My interest in the supernatural began at an early age, growing up in Brooklyn and listening to my father tell stories about his uncle and great-uncle, who were priests and exorcists in Catania, Italy.

Over the years, I assembled an extensive collection of extraordinary art and antiquities, which eventually inspired me to establish VAMPA.

VAMPA is much more than a museum about vampires. It is a place where art, history, religion, and the eternal struggle between good and evil come together, encouraging visitors to explore the mysteries of life, death, and the human spirit. I am particularly interested in the connections between spirituality, psychology, and neuroscience, and how they influence our understanding of the world.

Beyond the museum, one of my greatest passions is expanding our ministry, which is dedicated to love, compassion, and charity. My goal is not only to preserve and share remarkable objects and their history, but also to help people, inspire curiosity, encourage understanding, and make a positive difference in the lives of others.

For those interested in learning more about my personal journey, my experiences, and the story behind my lifelong fascination with the supernatural, I share much more of my life story in my book, Vault of the Vampire.

You can visit the Vampa Museum at 3686 US 202, Doylestown, PA 18902

Check out https://www.vampamuseum.com for more details
 

Interview with Sean Hogan - Director of The Dark Gets In

Ahead of the international premiere of his latest feature, THE DARK GETS IN, at Tubi FrightFest Halloween on 31 October, Sean Hogan discusses the film’s journey, the challenges of working with improvisation, and drawing on personal loss.

THE DARK GETS IN has been described as a’ mock-true crime documentary.’ What true-crime cases / TV series did you draw your inspiration from?

The true crime elements were something that came about via a discussion with the film's producers, who admittedly were more familiar with those sorts of shows than I was. They were keen to make something along those lines, which led me to suggest that we utilise a fictional documentary format. That way we could play around with classic true crime tropes but also take the story in some unexpected directions. So I did have to brush up on my true crime in order to write the screenplay! In the end, the one that probably inspired me the most was Joe Berlinger's The Vanishing at the Cecil Hotel.

Sean Hogan on the set of THE DARK GETS IN

We follow the harrowing case of a missing female teenager. You’ve gone on record as saying that you have lost close family members suddenly and unexpectedly and know just how wrenching that experience can be. How did this inform the creative process?

It's true that I have been through the experience of losing family members very suddenly. That wasn't actually something I consciously thought about when I started writing the script; it was only when we started production that I realised I'd probably been channelling those feelings without really even being aware of it. The thing is, when I look back at the work I've been doing in the last 5-10 years, I can see now that a lot of it is actually attempting to come to terms with those same experiences. With this particular film, it just made me want to try and deal with those sorts of emotions as honestly and realistically as I could. I've seen first-hand what a tragic loss like that can do to a family, and the terrible grief and incomprehension that springs out of not being able to properly explain or understand why such a loss happened. While the film ultimately goes to places that are not naturalistic, it still felt important to ground the core drama in something that felt very raw and real.

You wanted actors that were deft at improvising to help create a sense of documentary reality. How challenging was it to get the right cast, given the naturalistic narrative style required?

It did take quite a long time. When we put out the initial casting call, I think we had hundreds, if not thousands of applicants. So firstly, we had to look at a lot of showreels and decide who the best candidates for the various characters might be. However, improvisation is a very particular skill and not something that all actors are proficient at. We then had to hold an improvisatory audition process where we asked the people on our shortlist to answer some interview questions in character. That gave us a much better idea of who would be able to work in this sort of naturalistic off-the-cuff style. In a couple of cases, I felt like I was already seeing the character I'd written in those audition tapes and couldn't imagine anyone else playing them – luckily those particular actors went on to accept the roles!

Kezia Cotterrell as Aisling in THE DARK GETS IN

What do you want audiences to take away?

I hope they're as interested in the human drama of the film as the more horrific elements. The film does take a fairly slow-burn approach and you spend a while getting to know the characters before any supernatural elements start to creep in. It's really an experiment in trying to create a sense of slowly mounting dread, which is always more interesting to me than a succession of “boo!” moments. Of course, I also want people to enjoy the horror once it arrives. I suppose I'd like audiences to walk away from the film thinking that they'd seen something that managed to be both frightening and tragic.

Can you describe your personal journey making this film?

I'd never made anything like this before. Although there was a written script that served as the roadmap/bible for the film, I've never utilised improvisation to the same extent that we did here. That could be nerve-wracking at times but also incredibly exciting. I gave the actors a lot of freedom to come up with their own ideas and some really creative material came out of that. The finished film does follow the basic narrative structure of the original screenplay, but there are also moments in there that I never would have written myself. The process of making something in this fashion wasn't always easy, but it was incredibly invigorating. I feel like the whole experience has taught me an incredible amount, even if I never make anything in quite the same way again.

The title The Dark Gets In suggests a theme of creeping, unstoppable corruption or psychological unravelling. What is the "dark" representing for you, and how does it manifest for your characters?

As you say, it can be read in several different ways. In the film, the character of Natasha talks about a darkness that has followed her all her life: an early childhood tragedy that now seems to be repeating itself. That threat is ultimately revealed as something very specific: darkness personified, if you like. By the climax of the film, these same dark forces will have literally “got in” and invaded the family home. But there's also an interior darkness to some of the characters, a suggestion that the people we're closest to in life might have murkier aspects to their personalities that we never normally see. Added to which, the film also looks at how the internet functions as a kind of breeding ground for darker behaviour, an arena in which online anonymity permits people to indulge in all sorts of illicit fantasies and forbidden impulses. And given that the internet is now in almost all our homes, it can very easily serve as a pipeline to channel this kind of darkness directly into people's lives.

Much of your previous work, like The Devil's Business, thrives on tense, Pinteresque contained spaces. Does this film continue that tradition, or are you experimenting with a more expansive canvas this time?

The nature of this film means it can't help but be somewhat more expansive, simply because of the number of characters and locations. The documentary form dictates that you're constantly cutting from here to there and back again, so you can't really build that same atmosphere of claustrophobia. On the other hand, I hope The Dark Gets In still has a similar sense of tension, that same inexorable feeling of events spinning slowly out of control. Although they take very different forms, both this film and The Devil's Business are ultimately about characters finding themselves trapped in situations they can't possibly control or understand; and finally coming to the realisation that the world is a much more illogical and terrifying place than they ever imagined.

You’re known for brilliantly imbuing character-driven drama with classic horror genre themes. Does this stem from your literary roots?

I suppose that while I loved horror from a very early age, over time I also became interested in other creative areas, be that different kinds of films or novels or theatre. Everything I do now is just kind of a stew of those sorts of influences. I do take a lot of care over the writing process; ideally, I guess I'm trying to make films where both the visuals and the dialogue are equally important. It always seemed obvious to me that horror movies were better when they took the time to create interesting characters and give them well-written dialogue to say, so that's just something I've always striven to do. I also believe that genres need to expand and progress in order to stay relevant, and one of the ways you achieve that is by bringing in outside influences, whether that be (in my case) Pinter or Bergman or true crime documentaries or a hundred other things.

You’re very much a stalwart of independent filmmaking. Beyond directing, you have championed the genre by writing extensive metafiction and books deeply rooted in the history of cult and independent cinema. Is this something you want to continue doing?

I hope I can continue doing all of it! Getting films produced is always very difficult; part of the reason I started writing prose fiction is because I hadn't been able to make a film for several years. Luckily, that all changed recently but there are never any guarantees it will continue. So I will keep on writing fiction regardless, because that's much more under my control. I'm not sure whether I'll write any more actual cinema metafiction, as I've published several books in that vein now and there are other things I want to do. But whatever I write will probably always have at least one foot in the genre: my most recent novel was a folk horror/psychological thriller, and I've just finished the first draft of a noir/horror novel.

Finally, what can you tell us about future projects?

There is one really exciting project bubbling under which involves a classic horror property, but I'm still waiting to be given a contract, so can't say any more. Beyond that, I have a US-set script I'm trying to make, and a TV miniseries I'm developing. I'm also working on an idea for another UK indie film. I wish I could be more certain about what might happen next, but such is the nature of the business. We'll just have to see how this film is received and if anything else comes of it!

THE DARK GETS IN is screening at Tubi FrightFest Halloween at the ODEON Luxe West End on Saturday 31 Oct, at 3.40pm and 4.10pm.

Interview with Amanda Hessenauer by David Kempf

1. When did you first become interested in horror?

I think I've always been interested in horror. I was an avid reader growing up and I think the stories I connected with the most always had an element of horror to them. I don't remember exactly how old I was, but I remember staying up late, hiding under the covers with a flashlight reading spooky chapter books. One of my earlier favorites was Bunnicula. I remember checking out Scary Stories to Tell in the Dark and those other classic anthologies available in the 90s for kids from the library at school. I've always enjoyed feeling scared, although I think to me, horror is really more about hope than anything else. 

2. Did you always enjoy horror and science fiction?

I always enjoyed horror going back as far as I can remember, and sci-fi was always a big genre for me. Fantasy as well. I didn’t discriminate; I read everything growing up. I was very much into the classics as well. Starting sometime in middle school, when we really started reading on our own and home and debating and discussing literature in school … well, that was my favorite part of the day. I remember we were assigned to read And Then There Were None, I think in seventh grade. I was geeking out the entire time. I went and checked out and read every single Agatha Christie book I could find in the local libraries in town. Then eventually we read Lord of the Flies, Fahrenheit 451, 1984, Shakespeare, The Crucible, To Killl a Mockingbird … I loved them all. But anything with a darker side that explored human nature always appealed to me.

Available on Amazon

3. Did you grow up around horror fans among friends and family?

My grandmother was a librarian, and we were quite close, so she was a big influence on me to read in general, as was my mom. My dad was never big into reading fiction, but he loved scary movies. Anything with a good psychological twist, especially. We watched a lot of horror movies together, especially as I got older, and that was always sort of our thing. My mom always hated anything scary, and she would roll her eyes and leave the room, and leave us to it. I think he was a big influence on my tastes as well. I’ll never forget watching The Ring together for the first time. One of my brothers joined us for that one, and he was terrified afterward. But I was too, to be honest, those opening scenes stuck with me. And I remember I absolutely loved the part where you realize all the efforts to lay her to rest were in vain. That she was never going to stop … I have a huge love of epistolary and found footage novels (and movies) and I think that movie is partially to thank. And Blair Witch of course. I watched that with my dad too.

4. Is there another genre that you are interested in?

I sort of touched on that above, but in terms of my writing, my novels have crossed genres a bit I think. Earlier on I was writing more gothic horror/gothic romance. I’ve written creature features, one in particular that contains significant sci-fi elements, and a romance as well. Actually I think all of my novels have some sort of romance element, even if it’s kept pretty minimal. My latest published novel, Going to the Six, has the least amount of romance, but I could still argue it’s quite a strong part of the plot, even though it might not be obvious. I’ve heard it said though (very vehemently) that romance novels must have a happy ending, and almost none of mine do … so I suppose I’m still firmly in the horror camp.

Available on Amazon

5. When did you first know you wanted to write and publish?

From the time I was old enough to be asked and answer the question, I always wanted to be a writer when I grew up. I ended up getting my clinical doctorate in audiology instead, and that came about in a very roundabout way actually. I only started writing seriously about two years ago. Prior to that, I started maybe three or four novels, but never finished any of them. The first one was when I was about 12. The second I want to say I was 16 or 17. I worked on one or two as an adult but never took myself seriously. Then about two years ago, I saw an ad for a competition, through Kindle Vella. And the word count requirement was 10,000 words. That sounded (naively) like a lot at the time to me, and I decided to challenge myself to see if I could do it. I wrote that first 10,000 and realized that wasn’t nearly enough, and kept going. The finished product ended up being the first novel I ever completed, and the first novel I self-published. I find it a bit cringey now looking back, but we all have to start somewhere.

6. Do you have a circle of beta readers you trust to read your work?

I have had a few people offer to beta read for me in the past, but only two who have stuck around. The first is my husband, he has been the first reader for every book I’ve written (that’s nine and counting so far). The second person to beta read more than one novel for me is a fellow author, Jason Garman. He’s read my last few novels and I’ve returned the favor for his debut, a noir thriller that just released earlier this year, and a few novellas, one of which released a few weeks ago.

Available on Amazon

7. Do you believe readers need to be horror fans in order to enjoy your work?

I think for the most part, yes. Going to the Six I could argue could be a chameleon and function as a psychological thriller as well, in a way, but it depends whether the reader can tolerate even the question of a paranormal entity. I know most prefer their thrillers to be based more firmly in reality. Not to ever knock what anyone enjoys, (more power to them!) but I find reality far too boring and depressing to ever stick to it.

8. Why do you think horror books and movies remain so popular?

I mentioned briefly earlier that to me, horror is about hope. It’s about watching or reading about someone else surviving (hopefully) or at least fighting, something awful, and I think that has power. I think it relates to a basic human need, which is to tell stories of what others have gone through, and spread the idea that these things are survivable. That fighting back is an option. That we are stronger than we might think. To me, horror will always exist as a medium because it reflects the worst and the best of us back to us in a way we can try to make sense of.

9. Do you think just as many people read books as they did ten or twenty years ago?

Gosh, I don’t know if I’m qualified to answer this. My gut would tell me yes, and by God I hope that’s true, but I really don’t know the answer.

Available on Amazon

10. Who inspires you?

A writer who inspires me is Dan Franklin. He has a phenomenal way with prose and description and weaving a story together. He’s also a fantastic person, someone who operates with integrity and humility and kindness, always. I have found those qualities to be sadly lacking in many of my encounters in the indie horror community, so to see someone who is a fantastic writer and also a good person is refreshing. I do think he is severely underrated as well, probably because unlike most of us, he doesn’t seem to attempt to focus his energy on promoting his own work, so heck, I’ll do it for him whenever I can. Another person who inspires me is Robbie Dorman. He is again, a great writer, a fantastically kind human being, and he is someone who I think really studies the craft and takes the time to constantly try to learn from other authors and better himself. I really admire Clay McLeod Chapman, for his creativity, his humor, his kindness, his willingness to be vulnerable and share his struggles. On top of that, he seems to do more, and be more places than is physically possible for one person, all while churning out an insane number of books. I have found a lot of inspiration as well just in my journey as a female author in horror by reading, watching, and learning from authors like Laurel Hightower, Cynthia Pelayo, Viggy Parr Hampton, Candace Nola, RJ Joseph, CJ Leede, and so many others. There are a lot of phenomenal women writing horror right now, and I’m thrilled to be a part of that in my own small way.

11. What are some of your favorite horror books?

Oh goodness … How much space do I have to answer this? Alright, I’m going to give you some all-time favorites first, just whatever pops into my head: The Terror, The Sarvan, Withered Hill, Wintersett Hollow, The Little Stranger, Echo, The Haunting of Hill House. I’m going to cut myself off, and switch to some of my top reads for this year so far: The Instruction Manual to Being a Vampire, by Craig Wallwork, Close to the Bone, by CS Jones, Decomposition Book, by Sara Van Os, SuperNoirtural Tales, by Ian Rogers, The Eater of the Gods, by Dan Franklin, Come Knocking, by Mike Bockoven, Experimental Film, by Gemma Files, Stolen Tounges, by Felix Blackwell, Phantom Constellations, by Daniel Braum, My Name Isn’t Paul, by Drew Huff, The October Film Haunt, by Michael Wehunt, Itch!, by Gemma Amor, The Rotting Room, by Viggy Parr Hampton, Liminal, by Shawn Winchell, and On Darkened Wings, by Winona Morris.

12. What are some of your favorite horror movies?

Alright, well, I mentioned The Ring earlier, that will always be a favorite. Another long-time favorite is Jurassic Park, yes, it counts as horror, I can do a whole separate interview about that! I love Fallen; that was another favorite that I watched (more than once) with my dad. I love House on Haunted Hill, for nostalgic reasons. My all-time favorite horror movie I think would have to be Midsommar. I have only two movies I will never watch again, and they are Hereditary and The Babadook. Those moves actually scared me, and I basically don’t get scared. I think there’s probably some tie-in there with maternal horror that just makes me uncomfortable, and I probably need to examine that more closely at some point in my own writing. Another favorite is Get Out. Absolutely fantastic. I really enjoyed Vivarium, and I also loved Coherence. I liked the movie Life, and fun fact, my oldest son is named after the alien. I recently watched and really enjoyed Talk to Me. I can’t talk about scary movies without mentioning Mike Flanagan’s Netflix series; the Haunting of Hill House, the Haunting of Bly Manor, Midnight Mass … I realize they aren’t movies, but all are comfort watches for me. I know I’m going to think of more movies later and sorely regret neglecting to mention them, but that’s it for now.

13. What are your current projects?

I’m currently taking a mandatory break from writing. I wrote three novels in under seven months, including Going to the Six, which just released from Cemetery Dance in June. Shameless plug, the audiobook has been picked up by Simon and Schuster and will release on August 18th via their Simon Maverick division. I also wrote a feminist horror novel pitched as Midsommar meets Fight Club meets Nightbitch, which is currently out on submission, along with a novel set in WWII France, which is loosely inspired by the Grimm Fairy Tale, The Three Army Surgeons. That novel is titled Three Girls and a Lie. I decided I’d earned a bit of a rest for the moment, but I’ll be back at it again shortly I’m sure.

14. Please in your own words write a paragraph about yourself & your work. 

I’m going to share my author bio here; a good excuse/reminder to update it! 

A.C. Hessenauer describes herself as a writer of horror, chaos, and madness. Her latest novel, Going to the Six, was published by Cemetery Dance Publications in June 2026 and was selected for the Cemetery Dance Trade Paperback Book Club alongside works by Jack Ketchum, Bentley Little, and Brian Hodge. When she’s not participating in macabre ceremonies dedicated to the eldritch horrors out in the woods, A.C. enjoys spending time with her family. She loves a good horror movie, and of course, getting swallowed whole by a good book.

You can follow Amanda on Insta @a.c.hessenauer

Buy Amanda's books at https://amzn.to/4yk3kdz