…Practical effects, especially in horror, can feel visceral and gross; you feel it in your stomach and in your bones. With VFX, specifically in horror, it often feels fake and doesn’t integrate as organically into the story. Moving forward, I really want to continue championing practical effects artists and that whole process. It’s incredibly difficult and time-consuming, but when you pull it off, there’s almost nothing more rewarding in making a horror project…
I had the pleasure of talking with Peter Klausner. Peter is a filmmaker known for his distinct approach to the horror genre, blending psychological depth with practical effects to explore themes of trauma and internal struggle. His latest film, Stomach It, made its world premiere at the Oscar-qualifying Nashville Film Festival on September 20, 2024, followed by screenings at Screamfest in Los Angeles, Chicago Horror Film Festival and Atlanta Horror Film Festival. The film stars Jon Lee Richardson, best known for his role in Beverly Hills Cop: Axel F, and centers on a crime scene cleaner grappling with emotional detachment and the haunting remnants of his work.
Born and raised in Los Angeles, Klausner’s early introduction to art came from frequent trips to art museums with his family, where he tried to emulate Van Gogh’s works. His passion for cinema was ignited by his grandfather, who introduced him to classic films like The Treasure of the Sierra Madre. As a teenager, he immersed himself in movies, spending weekends at a local AMC theater, which laid the foundation for his deep appreciation of storytelling through film. Klausner’s fascination with horror took root in college, thanks to friends who shared their enthusiasm for the genre. He discovered that horror offered a way to confront his own fears and anxieties, which has since become a driving force in his creative process.
Klausner’s path into filmmaking was marked by perseverance and a focus on deeply personal narratives. He gained early recognition with a short film about a crime scene cleaner, a concept that later evolved into Stomach It. The project’s inspiration came from his research into the psychological toll of crime scene cleaning, as well as conversations with professionals in the field. These interactions gave him insight into the unique challenges faced by those tasked with such emotionally taxing work, shaping the core of his character-driven story. The film’s central premise — a cleaner struggling to maintain emotional distance while encountering reminders of the deceased — mirrors Klausner’s interest in how suppressed emotions can manifest physically and mentally.
Stomach It distinguishes itself through its use of practical effects, a hallmark of Klausner’s style that pays homage to the techniques of 1980s horror films like A Nightmare on Elm Street and Videodrome. For the film, Klausner collaborated closely with a special effects makeup artist Michael Dinetz, whose previous work includes Avengers: Infinity War. Together, they crafted effects such as a pulsating stomach air bladder and a 3D wooden stomach, which was puppeteered through a mattress to create a visceral, unsettling atmosphere. These practical effects aim to evoke a sense of tangible horror that CGI often struggles to replicate, a creative choice that Klausner believes makes his work more immersive for audiences.
Klausner’s creative process is notably collaborative, involving long-time friends and colleagues like cinematographer Emily Tapanes and editor Liam Molina. Klausner and Tapanes’s partnership dates back to their high school days, and their enduring professional relationship has become a cornerstone of Klausner’s filmmaking. This collaborative spirit extends to his mentorship of young filmmakers, as he emphasizes the importance of fostering a supportive and inclusive environment on set. He recalls taking the time to teach a college-aged production assistant about blocking and filmmaking techniques, a gesture that resonated deeply with her and underscored his belief in the value of nurturing new talent.
The thematic focus of Stomach It is rooted in the idea that internalized emotions, especially those linked to trauma and anxiety, can become destructive if left unaddressed. Klausner draws a parallel between the film’s narrative and his own experiences with anxiety, exploring how emotional struggles manifest physically — an aspect that he feels is particularly resonant with viewers. He envisions his work as a kind of cautionary tale, encouraging audiences to confront their fears rather than letting them fester. Through the lens of body horror, he delves into questions of emotional resilience, asking whether individuals have the strength to face their inner turmoil head-on.
Beyond the themes of his films, Klausner is an advocate for the preservation of practical effects in an era dominated by CGI. He believes that practical effects offer a rawness and authenticity that enhance the storytelling, especially in horror. Despite the challenges of executing such effects, he values the hands-on craftsmanship and the sense of collaboration it fosters among his team. Klausner has expressed admiration for directors who balance grand storytelling with the discipline of working within confined, controlled settings — an approach that influenced his decision to focus on a single location for Stomach It.
Looking ahead, Klausner aspires to inspire a movement within the horror genre that prioritizes personal storytelling. He draws inspiration from filmmakers like Wes Craven, who famously said, “The first monster you have to scare the audience with is yourself.” Klausner’s own work aims to dig into his personal fears, using the horror genre as a vehicle to explore deeper psychological themes. Through his production company, ISOTRE Films, he seeks out projects that push boundaries and challenge audiences to see the world through new perspectives. The company’s name — an acronym for “In Search of Treasure” — reflects Klausner’s commitment to finding stories that resonate on an emotional level, and to fostering a space for genre films that explore the darker aspects of human experience.
Yitzi: Peter, it’s an honor to meet you. Before we dive in deeper, readers would love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
Peter: Yeah, of course. I grew up in Los Angeles, and I think my first introduction to art was going to art museums with my family when I was a kid. I would see Van Gogh paintings and try to draw what I saw. My introduction to filmmaking, or becoming obsessed with movies, came when my grandfather showed me the movie “The Treasure of the Sierra Madre.” It was one of the first older movies I saw, and something about it stuck with me. When I was in middle school, my friends and I would go to the AMC movie theater right across the street from my house every single weekend, through most of middle school and high school. From 2010 to 2012, I saw so many movies, and that really deepened my love for film.
In terms of my love of horror, my college friend, Tony, and longtime girlfriend, Giselle,” introduced me to the genre. We watched so many horror movies, and I started to really love it because I have a lot of fears and anxieties about the world. I found that I could confront those through horror filmmaking.
Yitzi: That’s amazing. Can you share a bit about your process of breaking into the filmmaking scene? It’s not easy. What was your first break? How did you first ease into it?
Peter: Yeah, so, I made quite a few short films, but I really consider this one short film my first break into the film world. I think this project resonates with people because when they watch it, they can tell it was personal for me, and it definitely was. It’s about a crime scene cleaner, and while I’m not a crime scene cleaner myself, I have a fear of how internalizing something over time can manifest in unhealthy ways.
The short is very inspired by a lot of ’80s horror, so I wanted to use practical effects for this project. I think people appreciate the artistry behind those practical effects. Sometimes, when people watch it, it feels like something they might have seen in their childhoods, in the ’80s or whenever. I’m definitely going to continue on this horror journey because it feels like my calling card. The horror genre is the most personal form of storytelling for me, and I think that connection is resonating with the audience.
Yitzi: I’m sure you have a lot of great stories from your experiences so far in entertainment. Can you share with our readers one or two stories that stand out in your mind about your professional life?
Peter: Sure, I’ll give you three. When I was working on this project, I had to do a lot of research about crime scene cleaning. I went on Reddit, specifically a crime scene cleaning subreddit. It was my first time on Reddit, and I got to interview crime scene cleaners through messaging. But the real story is that I connected with a guy who runs a crime scene cleaning company out of Baton Rouge, Louisiana. I spoke with him on the phone and learned so much about the job’s process, along with the psychological and emotional toll it can take. It’s different to read about it through messages, but actually hearing someone’s voice and having a conversation really resonated with me. The way he talked about the psychological effects of the job stuck with me. He even sent me photos of actual crime scenes he had cleaned up. I had to delete all of those once the project was done — I didn’t want that on my phone.
The other interesting story is that, for about six months, we couldn’t figure out how to create one practical effect in the film. There’s a sequence where the cleaner uses a highly concentrated hydrogen peroxide spray to detect and disinfect blood. Store-bought hydrogen peroxide is 3%, but crime scene cleaners use a 12% concentration, which is much stronger. In the scene, he sprays the carpet, and footprints start to rise as the peroxide foams up when it detects blood. But I wanted to do this effect practically, with no visible blood, just the rising foam. We couldn’t figure out how to make it work. No one on my team had a solution, and we were about to explore VFX, which I really wanted to avoid.
During a Zoom call where we were discussing going the VFX route, my production designer’s boyfriend overheard the conversation. He did a little experiment and figured it out. He used a chemical reaction called “elephant toothpaste.” You can find videos of it on YouTube — people fill pools with this food-colored, yeasty, watery solution, and when hydrogen peroxide is added, it causes a dramatic, foamy reaction. He used that same concept, and that’s how we managed to do the effect practically.
A third story I’ll add, just because it came to mind, is about a shot I really wanted to do where the crime scene cleaner is in the foreground, and in the background, a mattress is protruding out. Some people on my team suggested cutting it because it would take time, or they questioned if it was essential to the story. But I felt it was. The shot was definitely inspired by “A Nightmare on Elm Street.” We struggled to figure out how to do it practically, but we had a practical effects artist who helped me come up with a solution.
I hired a carpenter to create a 3D wooden “stomach,” and we puppeteered it through a mattress topper. We cut a hole in the topper, put a fitted sheet over it, and my production designer’s art team member was underneath, puppeteering the wooden stomach upwards. Our gaffer placed a red light underneath, so when it protruded, it looked very intestinal and gross. It’s one of the shots that really resonates with people, and I’m so glad I stuck to my vision and followed through with it.
Yitzi: I’d love for you to articulate this. Why, in an age of AI and CGI where you could do whatever you want, are practical effects so important? Why is it important that we preserve that art and come up with new, creative ways to create practical effects?
Peter: Because with practical effects, you can feel the artistry. Even if a practical effect doesn’t look entirely realistic, there’s something really fun about it. You can tell that there was a team behind it, working together to make it happen. There’s a synthetic feeling with AI or even certain VFX. I’ve seen horror movies that remake older films — like newer versions of ’80s or ’70s horror movies — and they use VFX, but it’s nowhere near as impactful as the originals that relied on practical effects.
Practical effects, especially in horror, can feel visceral and gross; you feel it in your stomach and in your bones. With VFX, specifically in horror, it often feels fake and doesn’t integrate as organically into the story. Moving forward, I really want to continue championing practical effects artists and that whole process. It’s incredibly difficult and time-consuming, but when you pull it off, there’s almost nothing more rewarding in making a horror project.
This was technically my first horror project, and I drew a lot of inspiration from ’80s horror movies like “Nightmare On Elm Street,” “Videodrome,” and Cronenberg’s work. So, I definitely want to keep using practical effects and stay away from VFX as much as I can.
However, there are definitely movies where VFX is necessary, like Jordan Peele’s “Nope.” They had to do a lot of VFX with the sky and the whole creature, and that was incredible. That’s an example of something you literally couldn’t do practically. So, there are cases where VFX is essential, and it can be really great. But overall, I’m a huge fan of practical effects, and I think that sometimes AI or VFX can feel like a cop-out in filmmaking.
Yitzi: Yeah. Great answer. We love hearing stories where somebody who’s a little further ahead opens a door, creates an opportunity that changes somebody’s career trajectory. Do you have a story like that where somebody gave you an opportunity or a boost when they didn’t have to? Or do you have a story where you did that for someone else who was just starting and you created an opportunity for them?
Peter: You know, on the first day of this project, I met one of our production assistants. She had been on a good number of sets, but she was still in college and just wanted more experience. We were filming in this apartment set, and I took her aside and went over the blocking for the entire project with her. I could tell that meant a lot to her because I think it’s easy on sets to overlook people like production assistants.
For years, I was a production assistant myself, and I often felt ignored or unnoticed. So, I really tried to give her as much attention as possible, and I wanted to teach her about filmmaking and the process. There were moments on set where I would ask my assistant director to bring her over — her name is Gabi — so she could look at the monitor and see a particular shot. I really want to be able to teach young filmmakers because I think the filmmaking world is a network, and we should all try to uplift each other.
Something that made me really happy was when she told me afterward that this was the best set experience she’d ever had. That meant a lot to me. I think it was because we created a really friendly environment on set, where everyone wanted to support one another. My number one goal is always to have a fun, safe environment, and I think we achieved that.
Yitzi: So, can you tell us a little bit more about “Stomach It?” Tell us why we have to watch it.
Peter: Sure. To give some context into why I made this, I was researching crime scene cleaning, and I noticed that almost every crime scene cleaning company around the world said that the basic qualification for the job is having a strong stomach. That instantly made me think of a character who struggles with that very qualification. When I spoke to my producer about this idea, it resonated with him immediately because he has anxiety — just like I do — and he often feels that anxiety in his stomach, as do I. I think a lot of people experience that because there’s a real connection between the brain and the gut.
I believe that anyone who experiences anxiety, or feels trapped in their everyday lives or their job, can resonate with this story. There’s also a fear that many people share, which I explore in the film: the idea that if you keep internalizing your feelings over time, it can manifest in an unhealthy way. In a way, the film could be seen as a cautionary tale for those who have that fear.
I also think horror fans will appreciate “Stomach It” because it’s heavily inspired by ’80s horror, and I made a big effort to focus on practical effects. While there’s definitely blood and guts — since that’s a big part of what crime scene cleaners deal with — that’s only part of the spectacle. What I really wanted to emphasize, and what I think will resonate with people, is the character’s emotional struggle with detaching himself from his job.
He’s cleaning up after suicides, homicides, decompositions — each job is different, but he might find something like a toy horse or a photo left behind. He focuses on these objects, and imagines what these strangers’ lives were like. That emotional aspect is really the heart of the story. I think it will resonate with people, especially those who have lost a loved one and have had to face those small, intimate reminders — like seeing what they were last listening to on their iPod, or finding their last meal. I think anyone who has experienced that can connect with the themes of this film.
Yitzi: That’s amazing. Okay, so this is our signature question. We ask all of our interviewees: can you share with our readers five things you need to create, or to be successful at creating films? Five things you need to be a successful filmmaker.
Peter:
1. Tell the Story You Want to Tell: Don’t focus on what you think people want to watch — focus on the story that genuinely interests you. When I wrote “Stomach It,” I thought about what I’d want to watch if I were sitting down at 9:30 PM, scrolling through streaming services. And this film was something I would want to see late at night. I think that when filmmakers focus on what they themselves want to watch, the audience can feel that authenticity. They can tell how personal it is, and it resonates with them.
2. Embrace Genre Films: I think it’s important for filmmakers to embrace genre films. A lot of people in film school, myself included, tend to want to make serious, dramatic pieces. And while those can be great, genre films can be a lot of fun, too. You can still tell very personal stories within genre films — especially horror, in my case.
3. Network and Build Relationships: Networking is crucial because the best part of a set, or filmmaking in general, is the relationships and friendships you build. Whether you’re editing, working with your composer, or collaborating with your cinematographer, you spend a lot of one-on-one time together. If you can build those relationships into genuine friendships, it makes the entire process that much more rewarding.
4. Study the Films That Influence You: Analyze the movies that inspire you. Think about why you enjoy them and what makes them effective. Understanding why a certain scene, shot, or story element works can help you incorporate those lessons into your own projects.
5. Be Confident in Your Vision: This is really important. It’s easy to be swayed by other people’s opinions, to change a story element or cut something based on feedback. But if you’re confident in your vision and stay true to what you want to say, that’s what makes the best film. And that’s what resonates with the audience the most. When I was writing this project, I got a lot of great notes, but I also received some feedback that I didn’t necessarily agree with. It would have been easy to go along with those suggestions, but I kept returning to the core question: why do I want to make this, and what is this trying to say? If my original vision served the story’s purpose, then I stuck with it. And I’m glad I did, because it made the final product more authentic and true to my intentions.
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake that you made when you were first starting and the lesson that you learned from it?
Peter: I’d say, this isn’t exactly when I was starting out, but with my thesis film in college, I made a road trip story. The tricky thing about road trip stories is that they require a ton of locations. My mistake on that project was going too big, when, for example, with “Stomach It,” I focused on just one location and really utilized it in a meaningful way. I think a lot of film students fall into that trap of trying to go big with their thesis films, and they think they need to do something grand. But some of the best shorts I’ve seen are actually very simple, taking place in one location.
That project taught me that simplicity is often best with shorts. It’s also why, with “Stomach It,” there’s barely any dialogue — I didn’t think it was necessary. So, the biggest mistake I made was trying to do too much, using too many locations, when I could have created something more contained. But honestly, if I hadn’t made that mistake, “Stomach It” might not have come about. Sometimes, filmmakers need to push too far, make something overly ambitious, and then they learn to go smaller and more focused with their next project. I heard a similar story with David Fincher — after “Fight Club,” which had so many locations, he did “Panic Room,” which is mostly set in one place. It’s a lesson many filmmakers seem to learn over time.
Yitzi: Okay, so this is our aspirational question. Because of your great work, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?
Peter: I would love to lead and champion a movement within the horror genre — one that focuses on deeply personal storytelling. I know horror is big right now, and it’s always going to be popular, but I want to champion a kind of horror that digs into the personal fears and anxieties of the filmmakers themselves.
There’s a Wes Craven quote that really resonates with me: “The first monster you have to scare the audience with is yourself.” That quote has always stuck with me because it emphasizes how the best horror movies come from filmmakers who are trying to confront something within themselves — whether that’s fear, anxiety, or something else that haunts them. It’s been a huge inspiration for me, and I’d love to encourage others to create horror films from that same place.
I also want to push for practical effects in horror, encouraging filmmakers to use them as much as possible. There’s a rawness and a tangible quality to practical effects that can really elevate the storytelling.
My production company is called ISOTRE Films, which stands for “In Search of Treasure.” That ties back to what we talked about earlier — the “Treasure” refers to “The Treasure of the Sierra Madre.” For me, being “In Search of Treasure” means looking for genre films that are hidden gems, stories that are made by filmmakers confronting their personal fears — especially in horror. I really want to support and uplift those kinds of projects.
I think encouraging horror filmmakers to explore their own fears can be a therapeutic process. It’s a challenging thing to do — like a form of therapy where you have to dig deep into what scares you and why. But I believe that’s what makes the best horror films, and I want to help more filmmakers find the courage to take that plunge.
Yitzi: Amazing answer, I want to thank you so much for this amazing conversation. I wish you continued success.
Peter: Thank you so much. I really appreciate your time. It was great speaking to you, and I loved the questions.
Peter Klausner Of ‘Stomach It’ On Five Things You Need To Create A Successful Career As A Filmmaker was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.