Fans of horror movies are familiar with the typical slasher movie formula: A masked killer hunts unsuspecting prey, driven by some inner rage that compels them to lust for blood. The victims are usually nubile teen girls and are offed after having partaken in either drugs or sexual activities, leaving the virgin to emerge victorious against the killer’s assault. Countless sequels ensue; every final chapter begets a new beginning for Friday the 13th’s Jason Voorhees and Halloween’s masked man, Michael Myers, who has eight movies under his belt.

While Nightmare On Elm Street’s Freddy Krueger could qualify as a gay man due to his bitchy repartee with his victims, there has never been a slasher film aimed solely at gay audiences or featuring gay characters. That is until now. With the release of Hellbent, (now playing at Hillcrest’s Landmark Theater) the face of the genre has a new wrinkle.

With a cast of hot gay men running from a killer dressed as a devil and sporting a sickle as his weapon of choice, plus West Hollywood’s Halloween Carnival as the backdrop for the mayhem that transpires, this isn’t your father’s typical slice ’em and dice ’em fright fest.

First-time writer and director Paul Etheredge-Ouzts lets us in on the pioneering genre-bending project.

Gay & Lesbian Times: How did the idea for the project come about?

Paul Etheredge-Ouzts: The producers of Hellbent had some ideas for a gay horror film: “The killer wears a mask!” “The film takes place on Halloween!” “The film takes place on Halloween in West Hollywood!” One of the producers had read a few pages of an unfinished romantic comedy I’d written – at the time, I worked in their offices. Based on this meager writing sample, they brought me in to create their gay slasher. I’d never written a script, I’d never directed a movie. As for the “whys,” the producers aren’t blind to the movie’s novel hook. The queer twist helps make our slasher movie distinctive in the marketplace. Hellbent also offers an opportunity to attract the gay horror fans to the theater. That said, the gay angle isn’t merely a marketing ploy. I wanted to retell the familiar 1970s slasher movie, but with kids who are confident, likable and happened to be queer.

GLT: How does a gay slasher film differentiate itself from a “normal” one? And does it follow the standard horror movie mold?

PEO: The elements of a traditional horror films – being chased, recognizing that you’re about to die, being unable to save a loved one, fear of the dark – are universally potent, regardless of religion, language, culture, race, sex or sexuality. You wouldn’t expect a slasher movie with an all black cast to be fundamentally different from other films in the genre. And the same with gay horror, I think. Hellbent is “gay” simply because of its characters, not its horror. I’m sure someone will make the argument, “What about AIDS? What about persecution and intolerance?” Sure, gay people are affected by these horrors, but so are the majority of other people on the planet. There’s nothing in my mind specifically “gay” about them. And this is why I doubt “all-gay horror” will thrive as its own sub-genre. It just isn’t distinctive enough from mainstream horror – not if it’s honest. But I’d be happy to be proved wrong!

GLT: How will the “sex equals death” aspect be dealt with?

PEO: Traditionally, sexuality permeates slasher movies, and Hellbent – in some ways – is no different. I was very aware of the killer’s sickle being interpreted as being a proxy penis – when making a slasher movie, you can’t escape this metaphor. … I should mention that – atypical of many films in the slasher genre – Hellbent doesn’t equate sex with death. The characters aren’t “punished” because of their sexuality. That isn’t a message I’m interested in perpetuating.

GLT: What do you think makes for a good horror movie, and why do you think gay audiences gravitate toward this particular genre?

PEO: I reviewed the celebrated – and less celebrated – films of the slasher genre in preparation for writing the script: Psycho, Suspiria, Sleepaway Camp, Scream and Halloween. Not surprisingly, I found the most successful slashers featured the better developed characters. I think the gay audience likes the horror genre for the same reason straight people do. For me, horror is primal – it appeals to my lizard brain. It pushes my childhood buttons; it punches my adult buttons; it’s a thrill ride. I’m a big guy in my 30s, and I still can’t let my feet hang off the bed. Despite how often I’m troubled by my little, skittering fears, my life would be a lot less interesting if I refused to indulge them.

GLT: Are you a fan of the horror movie genre? If so, what would you cite as your favorite?

PEO: Yes, definitely. My favorite horror film is Alien. I saw it during its first release in ’79, and it affected me horribly. As I walked out of the screening into the sunny afternoon, I was so traumatized by the film that I couldn’t remember anything I’d just seen. That evening, the nightmares started. Eventually, my family took me to a counselor, but I continued to have regular nightmares for 14 more years. … My main influences for Hellbent come from the “golden age” of horror – the ’70s. The best of those films have a great balance of raw character, shocking violence and gore, and – surprisingly – wit. Black Christmas and Halloween are among my favorites. And with repeated viewings, Texas Chainsaw Massacre is incredibly funny. There were a few “odd” influences tossed into the mix as well: Black Orpheus, Black Narcissus, Invaders from Mars and the films of Kenneth Anger.

GLT: How was it directing and writing your first feature, and seeing your vision come to fruition?

PEO: Ultimately, I found the flavor I wanted for the film: a little blood, a little sex, a few laughs. Good times. Hellbent is a breezy popcorn movie with a rockin’ soundtrack. It doesn’t pretend to be anything else. It feels great to be the creator of one of the first gay slashers – I hesitate to say “first gay slasher”; as soon as I do, someone’s going to drag out a reel of Super 8mm and prove me wrong! I admit I fantasize that Hellbent is claiming a place in film history. There are a number of LGBT horror films in production now – even a gay horror series on here!TV. I’m very curious to see how – and if – the genre continues.

GLT: In the ’90s when Silence of the Lambs and Basic Instinct were released, there was backlash from gay groups regarding gays as villains. Any fear of reprisal for having a gay serial killer killing gay victims?

PEO: One of the producers was concerned that the audience would assume the killer is a gay basher. I’m sure someone, somewhere, will accuse me of gay bashing, but I make it very clear in the film that the murders aren’t hate crimes. But other than dismissing gay bashing as his motive, I keep the devil a blank canvas. I feel that the questions of the killer’s identity and motivation are ones that only the individual viewer can satisfactorily answer. Until the sequel arrives, of course.