Fear Street: Prom Queen director discusses slashers and achieving the ideal kill scene.

      Matt Palmer is forthright about the methods of killing featured in his new film, Fear Street: Prom Queen. “We dedicated a significant amount of time to devising ways to kill characters,” Palmer shared with Digital Trends in an exclusive interview. He serves as the co-writer and director of Prom Queen, the fourth installment of Netflix’s Fear Street series. While the first three films form a trilogy, Prom Queen stands alone with fresh characters and narratives, although it shares the setting of Shadyside.

      Adapted from R.L. Stine’s novel, Fear Street: Prom Queen takes viewers back to 1988, just two days before senior prom when six girls vie for the title of prom queen. Among them are rival characters: the sweet outsider, Lori Granger (India Fowler), and the popular bully, Tiffany Falconer (Fina Strazza). As these girls engage in political tactics to garner votes, they must also evade a masked killer targeting the contestants.

      In the following discussion, Palmer emphasizes the significance of music selections, the pivotal changes made in adapting the story from book to screen, and his approach to crafting the perfect kill.

      Alan Markfield / Netflix

      This interview has been condensed for brevity and clarity.

      Digital Trends: Let’s begin with the music. It stood out immediately. What ’80s song did you feel absolutely had to be included in Prom Queen?

      Matt Palmer: "I’m Not Scared" by Eighth Wonder.

      Why did you choose that particular song?

      While there are more recognized tracks, this one holds a unique quality. It was actually composed by the Pet Shop Boys, which explains its appeal. It’s somewhat lesser-known but has a vibrant rhythm. Early on, I recognized that this song encapsulated the essence of prom. Its pulsating beat set the entire tone. The lyrics align closely with Lori Granger’s narrative. That was the song.

      As we edited, we altered some tracks to achieve the right vibe. However, that song was a constant from the start. It was placed right after a kill and wasn’t going to change.

      When approaching your musical choices, do you as a director and writer construct a scene already knowing the ideal song, or do you rely on a playlist from your music supervisor to determine what fits? How does that music element come together?

      It’s amusing because, in my first movie, there was a lot of composed music that blended in. Viewers often miss it. Many complimented the absence of music, but I thought, “Well, it’s there, you just don’t notice.”

      Prom Queen was a completely different task. There were moments similar to how [Quentin] Tarantino selects a record to inspire his movies. This time was much more aligned with that approach, which was enjoyable. For instance, with a Billy Idol song, I began to build montages around the music. This creative process was distinct and incredibly enjoyable. I would love to do it again.

      It felt like constructing a lengthy playlist.

      Yes, during the early two months of writing the film, I devoted a lot of time to curating this playlist. Certain tracks, like "You’re the Inspiration" by Chicago, were pivotal. I initially envisioned a scene where the Devil character dances with Lori, but we eventually decided it didn’t advance the story or character. I was reluctant to let go of that scene because I loved the idea of pairing it with that song, but it was necessary to remove it. At times, the visuals originate from the music; at other times, it flips, like with "Sweet Dreams."

      We originally planned to use a Prince song for the dance-off, but licensing Prince tracks is notoriously challenging. Once Gloria was included, it became clear that this was the chosen track. The morning I discovered Gloria, I noticed it playing in various rooms of our pre-production office, with everyone singing along. I knew that was the song to use.

      The essence of the book carries through to the film. I understand there were some modifications made, notably changing the character Lizzie to Lori. What prompted the alteration of her backstory?

      In the book, the girls are quite cruel to one another during Prom Queen. The original material reflects a different era, where discussions often centered around boys. As a male writer creating female characters—five of them leading the film—it was vital to have strong female producers who guided me through this process. If all the discussions revolved around boys, it would feel outdated. The aim was to resonate with a contemporary audience and reflect interactions that align with today’s society.

      Additionally, because it's a whodunit, you must craft the story in a way that keeps audiences in suspense. A foundation is needed where the audience doesn’t know who the culprit is, as that’s crucial for maintaining mystery. R.L. Stine is fantastic; he allows for flexibility. If you appreciate something, use it. If you wish to explore a different route, go ahead