Unveiling the Enigmatic World of Voodoo: Inside Fright Krewe with Co-Creator Eli Roth

Summary

Eli Roth and James Frey co-created Fright Krewe as a family-friendly animated horror show centered around a group of teens in New Orleans with special powers.

The show's animation style is a captivating blend of vibrant colors and gothic elements, striking a unique balance between heartwarming and frightening narratives. This combination appeals to a wide audience, encompassing both younger viewers and avid horror fans.

The creators diligently strived to portray the voodoo religion with authenticity and respect, aiming to educate and entertain viewers. Their ultimate goal is for the show to thrive as both a TV series and a book series, leaving the fate of its success in the hands of the audience.

Eli Roth and James Frey have teamed up to create Fright Krewe, an animated horror show that brings family-friendly scares to the screen. Set in New Orleans, the series follows a group of teenagers who gain special powers from mystical spirits called Loa. Their mission is to confront Belial, a malevolent demon threatening their city.

The talented cast of Fright Krewe features Sydney Mikayla, Chester Rushing, Tim Johnson Jr., Grace Lu, Terrence Little Gardenhigh, and Jacques Colimon. With its captivating blend of colorful yet gothic animation and a storyline that balances heartwarming moments with terrifying encounters, the show serves as a perfect introduction to horror for younger audiences and a thrilling experience for existing fans of the genre.

Eli Roth Talks Fright Krewe

Screen Rant had an exclusive interview with Eli Roth to delve into Fright Krewe, the exhilarating path towards creating this horror title suitable for all ages, the significance of accurately portraying the voodoo religion, and his aspirations for its future.

Eli, it's truly a pleasure to have this opportunity to speak with you. As a long-time admirer of your work, I must say that I'm extremely excited about this new project you and James Frey have embarked on. It's a fantastic expansion of your talent within the horror genre, especially following the incredible Goosebumps-like vibe you created in The House with a Clock in Its Walls. I'd love to know when this concept first emerged for you and James, and how much time you both invested in its development.

Eli Roth and James, both friends and writers, began discussing their desire to create a scary show for kids after realizing the lack of animated horror content similar to their beloved childhood favorite, Scooby-Doo. They wanted to develop a series that would feature kids solving supernatural mysteries in New Orleans, inspired by Scooby-Doo and Goosebumps, potentially as an animated series accompanied by books. Their goal was to craft a world that was both entertaining and educational, where important life lessons about friendship and bravery could be subtly incorporated into frightening stories. Although it took several years to bring their ideas to fruition, they were fortunate to have an exceptional team, including the talented crew at DreamWorks Animation and the support of Hulu and Peacock for distribution. The series, headed by showrunners Kristine Songco and Joanna Lewis and director Shane Acker, exceeded their expectations and surpassed their initial vision. Set in New Orleans, their show aimed to deliver an exceptional scary experience, but with a twist - the monsters in their series had to be real.

When considering Scooby-Doo, the option of portraying a fabricated monster is apparent, yet by making it undeniably real, the stakes are elevated for numerous characters, resulting in an enjoyable viewing experience. Now, in relation to the extensive period and endeavor taken to materialize this project, what were the major hurdles you encountered, both in terms of creativity and logistics, while bringing the show together?

Eli Roth discussed the extensive process of developing a show, such as this one. Pitching the idea to studios can be time-consuming, with DreamWorks Animation being particularly patient and willing to take their time in perfecting the script and artwork. Eli and James collaborated on the initial draft of the script, which led to the exploration of different artists and art styles for the characters. Bringing in a director, like Joanne and Kristine, is an important step before pitching the show. Sometimes, companies may pass on the idea or take weeks before deciding, but circumstances can change, and they might reconsider later on. The preferences of buyers, such as companies like Hulu and Peacock, can also have a significant impact. They may be interested in animated kids shows worldwide, but then decide they no longer need them. The project's success relies on aligning all the necessary elements, including the script, artwork, and catering to the buyer's needs. Animation is a costly endeavor, making it more practical to produce a full season rather than just a pilot episode. Patience is crucial throughout this process, as it can take years before seeing the final product. Despite the extended timeline, when everything falls into place, it makes the wait worthwhile.

I couldn't be more delighted with the show. I believe we have something truly unique and extraordinary. I had envisioned a show that would cater to both horror enthusiasts and their children. Starting kids off with extremely graphic and intense content like Hostel would not be ideal. We need a gateway into the world of horror, something that is both enjoyable and frightening, yet safe for young viewers. This show aims to teach valuable lessons on bravery and friendship, while introducing children to a whole new mythology filled with a multitude of captivating monsters. It's an incredibly exhilarating concept.

I am fascinated by the unique quality of this piece. It has a distinct 3D look, while also possessing a charming hand-drawn feel. Could you please share your experience in discovering this particular aesthetic? Additionally, I am curious to know which key elements were essential for you to preserve, regardless of the artists involved.

Eli Roth: Our initial decision was to create a 2D animation with a 3D vibe, and that's exactly what we settled on. We explored 3D renderings, but they failed to capture the same essence. There is a certain timeless and nostalgic appeal to hand-drawn animation that resonates with our personal taste. Animation has always been a part of my background, as I have created numerous short films like "Chowdaheads" and "The Rotten Fruit," which can be found on YouTube. Therefore, even prior to "Cabin Fever," I have had a deep appreciation for and connection with hand-drawn animation.

We aimed to create a genuine cinematic experience for the audience, drawing inspiration from the exceptional director Shane Acker and his film 9. Considering the diverse viewing platforms available to children, including projectors and 4K televisions, we wanted to steer away from the traditional animated shows like The Flintstones or King of the Hill. Our goal was to bring a cinematic and terrifying element to our storytelling, employing intricate camera movements and creating a visually rich and compelling experience.

This commitment was established from the start, recognizing that animation requires careful consideration of budget, time, and animatics. Joanna and Kristine Songco, who previously worked on DreamWorks Animation's Jurassic Park show, played a pivotal role in overseeing the writing process and collaborating with the animation studios and directors. They ensured that the aesthetic established by Shane was consistently upheld in every episode.

In addition, securing talented voice actors was crucial. We strived to make every aspect of the show visually stunning, akin to a work of art, capturing a cinematic essence that emulates the experience of watching a movie. This was the show's ambition, and the animators certainly delivered on it.

When exploring the theme of horror, particularly in relation to voodoo, we took into account our personal experiences and how voodoo had been portrayed in the past, such as voodoo dolls and spells. Recognizing the depth and richness of this religion, we aimed to represent it respectfully and educate children about it. The Loa, the spirits that guide the children, play a significant role in imparting values like power, knowledge, and language. Papa Legba, Maman Brigitte, and Marie Laveau are key figures rooted in real history, providing a strong foundation for our portrayal.

We had a team of voodoo priests, priestesses, and practitioners from the very beginning, serving as technical advisors and carefully examining the artwork. One of our writers hailed from New Orleans, with her grandmother being a voodoo priestess. This ensured that even though we ventured into the realm of fantasy and horror, our portrayal remained rooted in reality. Animation provided us with the opportunity to depict the spirit world in a breathtaking and extraordinary manner. Consequently, if children who watched our show think back to their understanding of voodoo when they were 12 or 13 years old, they will now have a greatly enhanced and grounded comprehension of this religion. It is our hope that when these youngsters visit New Orleans in the future, they will be able to recognize the various locations and comprehend the city's history based on their viewing of Fright Krewe. The people of New Orleans are extraordinarily pleased with our show because they have remarked, "These individuals took the time to ensure accuracy and approached it with utmost respect."

I'm interested to know if you and James have any future plans for the show, or if you're currently awaiting feedback from DreamWorks on whether to proceed. We would love to continue it as a TV series and a book series, but ultimately, it's in the hands of the viewers. With so much content out there, it's up to the public to decide if they want this to become the next Scooby-Doo or Goosebumps. We have poured our hearts and souls into this project, and everyone involved, from the voice talent to the writers and animators, loves the show. If it resonates with the public, we would be thrilled to do more.