Marshmallow - An Interview w/ Daniel DelPurgatorio

Daniel DelPurgatorio is the filmmaker behind the new sleeper hit indie horror release entitled Marshmallow, and today we had the good fortune to sit down for a short discussion in regards to the release, his influences, and independent filmmaking.

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MAD: Daniel, thanks very much for taking some 9me with us at HORROR TO CULTURE today to discuss your career and your new indie film entitled MARSHMALLOW. Could you tell us a little bit about how your journey into filmmaking began, and your early influences and inspirations?

DD: I’ve always loved movies, comics and music from an early age. Growing up, my family would watch a ton of stuff together- Jaws, Alien, and Close Encounters really hit me early on and kind of opened up this weird little door in me. But the real game-changer was when I got my hands on one of my dad’s old VHS tapes. It had Mad Max, Friday the 13th Part 2, and The Texas Chain Saw Massacre on it- just recorded straight off TV or rentals or something. I watched all three in one sitting and remember thinking, “What the hell did I just see… and how do I do this?” I was too young watching that stuff- probably 9 or so.

The horror, just grabbed me. There was something about those films that made filmmaking feel both totally out of reach and somehow possible at the same time. I guess at that stage, I knew I wanted to be a part of that world in one form or another.

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MAD: You also directed the animated short feature Tales of the Black Freighter (2009) which was part of the special extended edition of Zack Snyder’s epic film adaptation of Watchmen. How did that come about, and what are the challenges of directing an animated feature?

DD: Growing up a Watchmen fan, getting to direct Tales of the Black Freighter was honestly a dream come true. When we landed the gig, it was this wild mix of excitement and absolute terror. It’s such a beloved and iconic property, so the pressure was definitely on. But getting the chance to work with Zack Snyder and Dave Gibbons (who created the original Watchmen art) was surreal in the best way.

From the start, we knew we wanted to honor the source material as much as possible, while also leaning into that old-school EC horror vibe that’s baked into the DNA of Black Freighter. The original comic only has so many panels, so a big part of the challenge (and the fun) was figuring out how to expand on it without losing its tone or intent. Finding that balance between staying faithful and building something new was probably the toughest part… but also the most rewarding.

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MAD: Your new film, MARSHMALLOW, has received mostly positive reviews and word of mouth, as a coming of age “camp slasher” horror film, that ultimately subverts the genre with a sci-fi twist. Written by Andy Greskoviak, how did the production of MARSHMALLOW come about?

DD: I actually met our producer, Warner, years ago at a film festival. One of my shorts was playing before a feature he had produced. We hit it off and stayed in touch, always looking for something to collaborate on. Then one day, he sent me the Marshmallow script, feeling it lined up with my sensibilities. I instantly connected with what Andy had written.

At first, it was the coming-of-age vibe that pulled me in. It reminded me of being a kid, growing up on genre films, and trying to find my place in the world. But as I read deeper, there was this emotional undercurrent that really hit me, especially now, being a father. Without spoiling anything, that element gave me a way into the story that felt really personal. I loved the idea of making something that plays like a fun, summer camp horror film for younger horror fans, while also carrying some deeper emotional weight that older audiences might connect with.

We knew Marshmallow would be a bit of a genre hybrid, and that’s always the most exciting kind of project. It’s the stuff that sparks conversation, whether people love it or not, and that’s kind of the goal, right? To make something worth talking about.

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MAD: You shot the film in Kentucky, which isn’t necessarily known as a mecca for filmmaking. How did that location come about, and likewise, what was the casting process like for your delightful collection of child actors?

DD: When we started looking for locations, we knew we had to shoot in the summer, obviously, it’s a camp movie, but what we didn’t realize was how tricky that would make things. All the camp locations would just starting to spin up as summer was kicking off. Then someone sent us photos of this older camp in Kentucky, and we instantly fell in love. It wasn’t an operating camp anymore, which meant we could essentially take it over and live there for the entire shoot.

Of course, that also meant we had to get it back in working order- power, plumbing, cleaning, rebuilding, etc. We weren’t just filming a camp movie; we were living it. It truly felt like we were at our own weird version of summer camp.

As for casting, that was such a huge part of the puzzle. We knew the entire film was going to rest on the shoulders of these kids. After auditions, I made a point to talk with each of them one-on-one, just to connect and get a sense of who they were beyond the performance. Each of the kids really connected with the characters and saw themselves on the page. These were 11 and 12 year olds playing 11 and 12 year olds on screen- trying to find themselves in the world, like they were on camera. It all just clicked.

Then I met each of their parents too, which helped build this nice little trust circle before we ever rolled a camera.

And when we got on set, the kids clicked instantly. They became legit friends, almost like this little gang of goonies running around the camp. That bond you see on screen, it’s real. They were laughing together, goofing off between takes, roasting marshmallows at night… it all bled into the film in the best way possible. And they’re still close, which honestly just makes me weirdly emotional.

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MAD: What’s it like directing a cast of child actors in a horror movie, who have to drop a lot of F-bombs?

DD: I know some people don’t believe it, but that’s just how kids talk when adults aren’t around. I’ve got three boys, and I’ve hear them in the other room when they think no one’s listening… they talk way worse than I do. Half the stuff they say, I don’t even know what it means.

That was always the intention with Marshmallow, to let the kids feel like real kids. Not movie kids. We didn’t want to dumb them down or sanitize how they interact. These are young teens, away from home, away from rules, getting a taste of what it feels like to be “adults.” It’s messy, chaotic, full of curse words. And that’s what makes it honest and fun.

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MAD: Veteran actor Corbin Bernsen (THE DENTIST and many other roles) has a notable part in the film. How did his casting come about, and what was it like having him on set?

DD: We were incredibly lucky to have Corbin on this one. He’s such a talented actor and is in a few of my all-time favorites. But more than that, he’s just a genuinely great human. He really threw himself into the role, especially some of the wild stuff later in the movie, and you could tell he was having a blast with it.

What was even more special was the way he connected with the kids. He became this kind of loving mentor figure on set- encouraging them, joking with them, setting the tone in such a positive way. You could see how much they looked up to him, and I think that energy shows up on screen.

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MAD: If you don’t mind me asking, what was the budget like for Marshmallow, and did crowdfunding play any role in the production?

DD: The budget was definitely in the indie world- we weren’t working with studio money, let’s put it that way. But honestly, that’s part of what made the process so fun. Everyone involved really leaned into their roles and wore multiple hats when needed. There was this scrappy, all-hands-on-deck energy that kept things moving and made it feel like a true collaboration. People went above and beyond to bring Marshmallow to life, and I think that spirit is baked into the film that we made.

We didn’t use crowdfunding for this one.

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MAD: How exciting was it to have actual theatrical openings for the film, and how do filmmakers go about getting their features theatrical releases? How many screens was the film initially shown on?

DD: Seeing your film in an actual movie theater is surreal. It was honestly so fucking weird walking into the same cinema my family goes to all the time and seeing a poster for our tiny little movie right next to bangers like Sinners, Bloodlines, and M3GAN 2.0. Just totally bizarre in the best way. And then getting random texts or photos from people who stumbled onto the movie, like, “Hey, just bought a ticket to Marshmallow.” It’s all so weird (in the best way).

But the moment that really meant everything was getting to watch it in a theater with my kids. At the end, they turned to me and said, “Dad, we really liked it.” And that was it. That was the moment. After that, it kind of didn’t matter what else happened with the film. I felt like I’d already won.

For indie filmmakers, it’s not easy in this industry. It usually comes down to having the right partners, distributors, and a little bit of luck. But when it works, on any level, big or small, it’s magic.

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MAD: Who are some current indie filmmakers that you follow?

DD: I love all kinds of movies- big budget or tiny indie gems. I try to watch as many as I can, whether that’s in theaters, on VOD, or streaming. Because every film is a victory. A group of people came together, poured their hearts into making something, and now it’s out there in the wild. That’s a fucking dream come true.

And honestly, we all need to support that. Even if a movie doesn’t land with you personally, as movie fans it’s on us to lift each other up, spread the word, and keep these stories alive. The more we do that, the more bold, unique, and personal films we’ll get. And that’s the stuff worth fighting for.

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MAD: Are you a fan of the horror genre in general, and if so, what are some of the best new releases in recent years, in your opinion?

DD: Oh yeah, I’m definitely a horror fan. Honestly, the list of great recent horror movies is entirely too long, but some of the few things that I have just watched: Dangerous Animals, Ugly Step Sister, Bring Her Back, 28 Years, Sinners, etc just to name a few. There’s so much fresh energy and creativity happening right now, which is really exciting to see. It’s so inspiring.

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MAD: Favorite horror author or book?

DD: An oldie but I love Communion. I read that one when I was young and it always stuck with me. I revisit it from `me to `me. And of course Scary Stories to Tell in the Dark. It’s been fun reading that with my kids now.

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MAD: What is your advice to indie filmmakers out there who have never made a movie, especially if they live in the midwest and have no funding?

DD: The tools are more accessible now than ever. You can shoot and edit a film with stuff that’s already on your phone or laptop. My biggest advice? Just get together with your friends and make something. It doesn’t have to be perfect. It doesn’t even have to be “good.” The most important thing is that you’re creating, learning, and having fun with people you love. Who cares what anyone says about it. Make it for you.

Also, support original content. Watch indie films. Go to local screenings. Jump into other people’s projects and help however you can. That’s how you build your community and find your voice. You don’t need a big budget or a specific zip code. You just need the drive, a few good people, and a willingness to keep going even when it’s hard. And most of all- have fun. That’s the secret.

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MAD: Once again, it’s been a pleasure speaking with you today, and thanks for your time. I wish you much success in future projects! Is there a closing statement or quote you’d like to leave readers with today?

DD: Thanks again for taking the time to chat- it really means a lot. And seriously, thank you for supporting independent film. Every watch, every share, every conversation helps keep this world alive. You can check out Marshmallow now on VOD.

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Michael A. Dyer is the host of the HORROR TO CULTURE podcast, vidcast, and website.