"Described as post-feminist horror, Stripped follows the events surrounding a birthday outing with two brothers and a friend that turns into a horrific fight for survival after they become trapped in a house with a 'family' of malevolent women."

STRIPPED is being directed by John Wildman from a screenplay by Justina Walford and himself.

BD: When do you go into production on STRIPPED?

JOHN WILDMAN: We are currently in pre-production on the film. The target date to begin filming is the last week in May.

BD: Where did the idea come from? What inspired you guys?

John: Justina came up with the idea - which was more or less: "Cannibal Strippers." And I told her, "If you write that script, I will figure out a way to make that film." And then at a certain point, I joined her to work on the script and it developed to what it has now become which was far beyond that initial idea.

JUSTINA WALTFORD: I always wanted to be Quentin Tarantino with a vagina. So the women were always in my brain, just waiting for a page to land on. And since I come from playwriting, I found it very easy to create the characters and dialogue. John really took the reins on making it a visual and visceral script.

BD: What other horror films would you compare it to?

John: The original TEXAS CHAINSAW MASSACRE is definitely an influence. But Justina and I are also great fans of Korean films like Chanwook Park's Vengeance Trilogy as well as some of the recent films out of France like INSIDE, FRONTIERS and MARTYRS.

Justina: If ‘Asami’ from AUDITION decided to hook up with ‘Leatherface’ from TEXAS CHAINSAW MASSACRE and they had babies... Those babies would grow up to be the women in STRIPPED.

BD: What subgenre of horror would you say this is?

John: We're describing it as Post-Feminist Horror. I think, along with films like Paul Solet's great movie, GRACE, that came out last year there is going to be a significant wave of films like STRIPPED in which women aren't simply in the forefront but the story (and often, the horror) will come out of their issues and themes.

Justina: Chick flick for the horror set. This is definitely for the growing female fan base in Horror.

BD: How violent do you plan on making it? Can you give me a cool example?

John: Again, I have to go back to Original Recipe TEXAS CHAINSAW MASSACRE as well as the intensity of those Korean and French films. I think American-made films sometime confuse loving shots of gore with the intensity of the horror or dread. And that's a challenge we'll have to take on as well.

Justina: I am so desensitized to violence, I have no idea. People always cringe at what I find to be “kind of” violent and then I cringe at a stubbed toe scene. To liberally paraphrase Stephen King: Terror is the top goal. Horror is second best. If those cannot be done, we are fine just grossing you out.

BD: You already scored Tiffany Shepis? Anyone else locked down or that you're hoping to get?

John: Getting Tiffany on board was so key, so important. I had brought her in to Dallas to participate on a panel I was moderating for the film festival on horror films and how they show us what's really scary. She was great (of course) and after talking to her and getting to know her better, I felt like it was reasonable to approach her for this film as the part was something that was both right up her alley yet also something that would give her a chance to really shine and take command of the screen in a way that could be a signature role for her. And lucky for us, I think she saw that potential too. Samrat Chakrabarti is the only other cast member we are really close on right now. He is a guy that is very familiar to people that know Indian cinema - and I'm not talking about Bollywood here - and we'll be lucky to get him if that pans out. As far as additional names, the script is out to a few people that would send us through the roof if we scored them. And you'll be among the first to hear about it when that happens.

BD: What type of budget are you working with? What type of things do you plan on doing to get around it?

John: It's going to be a low budget deal, that's for sure. But we're also doing a lot of things to ensure that the film will be visually arresting and technically ambitious in comparison to the money spent. The most obvious thing is not only shooting in Dallas and tapping into a fantastically friendly filmmaking community there with a lot of talented people but also the fact that Justina and I actually bought the house the film takes place in. That gives us a lot of leeway into the things we can do and get away with, if you know what I mean. We actually have a friend staying there right now and I believe he's sleeping in "the killing room."