When five sorority girls inadvertently cause the murder of one of their sisters in a prank gone wrong, they agree to keep the matter to themselves and never speak of it again, so they can get on with their lives. This proves easier said than done, when after graduation a mysterious killer goes after the five of them and anyone who knows their secret...

BD: You’re one week away from shooting, what are you working on at the moment?

SH: The cast just landed in Pittsburgh, so this week is all about rehearsals and wardrobe fittings. The construction department is working frantically to finish the sets and we’re doing camera tests for fire, blood and a few other gags.

BD: What’s the hardest part about preparing for this film?

SH: The compressed prep period. We’re lucky to have a fast-tracked movie, but it had to come together very quickly. Luckily our crew is amazing and we’re right where we need to be.

BD: The synopsis for the remake sounds quite similar to the original ’83 film, how faithful are you to the original?

SH: Actually, we like to think of it as a reimagining more than a remake. Our movie shares a setting and the idea of a prank gone wrong, but beyond that the connections are minimal. It’s a great script though, and a bit of a relief that I get to steer clear of trying to strictly remake the original, which is a classic.

BD: What type of things are you going to do to modernize the film?

SH: Obviously it’s a present day movie so it’s got to acknowledge the world of cellphones and facebook. Beyond that it’s going to be a very current film stylistically, although it’s a classic horror movie in it’s structure. Tonally we’re going for something that doesn’t take itself too seriously and plays with the conventions the way Scream did.

BD: Is the aim to make this R-rated? What type of goodies can we expect?

SH: Yeah, we’re definitely an R. The kills are awesome--really fresh--and of course there will be a bit of skin.

BD: Just HOW bloody is this going to be? Who is doing the FX?

SH: It’s gonna be intense, but we’re definitely not out to make a bloodfest. If you come to this expecting lots of graphic, grizzly violence you’ll be disappointed. That said, our prosthetics effects teams are amazing. Gino Crognale did the sfx makeup for movies like Mirrors, The Mist, and Sin City. Steve Riley, our physical effects coordinator did Letters from Iwo Jima, The Island, and a ton of other stuff.

BD: What type of look are you aiming for? Eg: Beak, colorful, claustrophobic?

SH: The DP, production designer and I are big fans of movies that feel a bit more raw and authentic than those that are overly polished, so we’re going for a handheld aesthetic that could best be compared to The Strangers, with—of course—our own twist on things.

BD: Some interesting casting choices thus far, any more surprises? Why did you pick who you picked?

SH: The cast rocks. We’ve just locked in the final pieces and I couldn’t be more excited. Let’s just say that Carrie Fisher wielding a shotgun is gonna make my year.

BD: Have you had a hand in the final draft of the script, or do you have the job of bringing the duos vision to life?

SH: Josh and Pete are awesome. I started working with them to fine tune the draft a couple months ago and the three of us are really proud of where it’s at. I just got back from a full cast read through in LA which was electric—everyone is pumped.

BD: What do you plan on bringing to this film that will out your stamp on it?

SH: I fell in love with the project the minute I read the script because I thought it had a chance to be one of those movies that steps beyond the genre—it’s scary, sexy, smart, and has something for everyone.

BD: Have you thought past ROW yet? What’s next? More horror?

SH: These days I don’t even know what I’ll be doing tomorrow, let alone after this film. The sequel?