You are now listening to Post-Mortem with Mick Garris where the most influential voices in horror cinema will spill their guts, literally, to the renowned horror director, writer and producer.

Now here's your host, Mick Garris.

I'm Mick Garris, and from Nice Guy Productions World Headquarters overlooking the glamorous San Fernando Valley, this is Post-Mortem.

Film and television have been undergoing a tremendous metamorphosis for years now.

People seem to get most of their visual entertainment being streaming on various devices.

We're no longer consigned to watching what the networks want us to watch at their prescribed times.

Movies can be watched at your convenience on demand whenever and wherever you like.

Cinemas are wavering at the brink of bankruptcy but are clinging for dear life.

Movies and television have always been the ultimate mix of art forms blended into a single medium.

All of the arts and crafts are brought into play here, writing, cinematography, acting, art direction music, and so many other elements are required to make the final film that it is hard for one person to claim full authorship.

Being the ultimate composite art form, it also holds that it is the platform that should be most open to change and innovation.

For over a hundred years, we've been entranced by the motion picture and all of its elements.

But for the most part, the film stories are told in a very traditional manner.

However, with the evolution of movie-making tools and methods of consumption, there are even more ways to move off the beaten track.

Artists are being crafty in new ways to tell stories that come with the revolution in technology.

The fact that we can, as David Kronenberg likes to joke, watch Lawrence of Arabia on our Apple Watches has opened up entirely new vistas for the creators.

That means that not only are the manner in which we watch movies morphing, the manner in which the movies are made has opened new doorways.

Perhaps it started in 1999 when the Blair Witch Project exploded into international success.

Not only in its inexpensive production costs as a found footage movie, but also in how it was marketed and interconnected with the internet.

And now we find computer screen cinema.

Unfriended and its sequel showed that you could really tell an amazing story in a powerful way on a computer monitor telling it as it happens in real time.

It's not only inexpensive, but when handled correctly can really engage us in a remarkably personal way.

...