Eminem Teams With NERDS Clothing for Original Video Game, New Streetwear Collab Out of New York Comic Con (EXCLUSIVE)

Stray Kids Join BTS in Sitting Out Grammy Awards

‘Cameron Winter at Carnegie Hall’ Review: Paul Thomas Anderson Directs a Rapturous Solo Concert Movie Built Around the Songs — and Haunting Sound — of Cameron Winter

There Is Precedent for Taylor Swift’s ‘Cleveland!’ Making the World Go Crazy: Paul McCartney’s ‘Silly Love Songs’ Era

Slash is widely recognized as the iconic guitarist from Guns N' Roses, but he also has a deep passion for horror films

Although he’s appeared in a few acting roles, 2023 marked a bigger step into filmmaking with the launch of his horror production company, BerserkerGang. Their most recent release is a fresh take on the 1983 fantasy adventure "Deathstalker," written and directed by Steven Kostanski. The movie premiered at the Locarno Film Festival on August 15. Slash wasn’t just a name on the credits—he was hands-on as an executive producer, deeply engaged in the creative direction. Speaking with Variety, he shared his appreciation for the original "Deathstalker," drew parallels between film production and album creation, and recalled some advice from Keith Richards. Back in 1983, I worked at Tower Video on Sunset in Hollywood. We had "Deathstalker"—I’m not even sure if it was available for rent. There were two copies, and I’d often play them on the store monitors. I always enjoyed them because, at that time, there was a flood of similar genre movies, and many took themselves too seriously. In my view, when you treat "Dungeons & Dragons" or sword and sorcery with too much gravity, it loses the entertainment value. "Deathstalker" was different. It was low-budget, had a good sense of humor, and was more fun than something like "Conan the Barbarian." Years later, my partners and I came across a script for a "Deathstalker" reboot—not a sequel or a straight remake, but a new interpretation. The script was fantastic. It kept everything that made the original enjoyable: the humor, the clever dialogue that avoided being cheesy, along with plenty of action, gore, and monsters. I thought if we could bring it to life just as written, it would be something special. So we decided to go for it. Finding the right director was a challenge because we needed someone who appreciated the material for the same reasons we did. Steven Kostanski’s name came up, and I’ve been a fan of his work, especially "The Void." I actually met someone connected to that film while on tour years ago, and when I finally saw it, I thought, this director is a rock star. When Steve expressed interest, we had a long Zoom call, and his energy and vision were exactly what we wanted. He favored practical effects over heavy CGI, which I fully supported, especially given our limited budget. He came on board, and we cast Daniel Bernhardt as Deathstalker—he was perfect for the part. I was touring when filming started, but they sent me daily footage, and I was blown away by how impressive everything looked. I even flew to Ontario for a day to visit the set, which was a memorable experience. One of the perks of being a producer is getting involved with the music. We wanted to update the "Deathstalker" theme, so I reached out to my friend Bear McCreary. It turned out he was a fan of the original and its composer, Chuck Cirino. We decided to record a new version with a live band, and it was a blast—Bear, Chuck, some musicians, and I got together in the studio and made it happen. It’s a lot like making music. Keith Richards once told me that once you start playing an instrument, you can’t listen to music the same way again. The same goes for films. I’ve always loved movies, but producing changed how I watch them—you start analyzing every detail, which can make you a tough critic. But that shift in perspective is essential when you’re building something instead of just consuming it. Whether it’s music or film, it’s about assembling all the pieces to create something you’re proud of. It takes effort, skill, and a bit of luck, but when it comes together, it’s incredibly satisfying. That’s what keeps you going. Collaboration is key. You’re working with people who bring different talents, and it requires patience and compromise to reach a shared goal. My experience so far has helped me handle larger teams in film, since productions involve many more people than a band recording. I recently read a book called "Demon Copperhead," which isn’t horror—it’s a modern retelling of "David Copperfield," a touching story about a boy’s life. I’d be interested in adapting something like that and am looking into the rights. My tastes aren’t limited to horror; I use that label because it’s familiar, but I enjoy all kinds of stories: psychological thrillers, sci-fi, Westerns, cop dramas, detective tales—anything with strong characters and a solid plot. Comedy is probably the least appealing to me these days, as I feel the genre has lost its edge over time, but I’ll watch anything if it’s well made. Right now, I’m focused on producing, which has been a passion for about 13 years. I’ve produced three films so far, and things are gaining momentum with several projects in development with the same team from "Deathstalker." That’s where I feel most comfortable. Writing a screenplay might happen someday, but it’s not a priority, and I have no interest in directing—that demands as much dedication as I’ve given to guitar, and it’s not a role I’d take lightly. Producing suits me because it involves shaping an idea and coordinating all the elements to make it work. As for recent music, I thought Metallica’s "72 Seasons" was outstanding, and I really enjoyed Dirty Honey’s latest album, "Can’t Find the Brakes." There might be others, but those are the ones that stand out.

#Metallica

Category:SHOW BIZ NEWS

MSG team 2025-08-21