Jeffrey Reddick and Lisa Normand on Building a Chosen Family—On and Off Screen in ‘The Other’

Horror has always been more than jump scares. At its best, it’s a mirror, a metaphor, a vehicle for exploring the fears we’re not always ready to name. In The Other, that tradition is alive and well—but layered with something even deeper. Produced by Lisa Normand and Jeffrey Reddick, the film confronts grief, identity, and belonging through the eyes of two young heroines.

Independent in spirit and execution, The Other had no studio interference, no mandatory rewrites—just a team of filmmakers who believed in telling a story their way. That freedom shaped every stage of the process, from casting and tone to the collaborative energy on set. And it shows. The result is a genre-bending story that’s as introspective as it is chilling.

In our conversation, Lisa and Jeffrey reflect on what drew them to the project, how horror creates space for emotional storytelling, and why The Other felt like lightning in a bottle.

PC: Jeffrey, the horror community is such a special and supportive space—one that you’ve consistently championed through your work and platform. What was it about Paul’s script that struck a chord with you? In what ways do you think this film moves the genre forward?
Jeffrey: I’ve been a lifelong friend of Paul’s. He did Hellbent, which was the first gay slasher film of its kind. He made it at a time that essentially ruined his career—he couldn’t even get a meeting afterward. I’ve been a fan of his work since I met him, and I’ve always wanted to find the right project for us to collaborate on.

When he wrote this film, what really struck me was how he used genre storytelling to explore deeper themes without making it feel too heavy-handed. That’s what I love about horror and indie films—you can get heavy if you want to, but you don’t have to.

He wrote a story where the leads are essentially two children. For me, it’s a story about finding and protecting your family. The idea of found family is really important—especially in the world we live in today. It resonates across so many communities, whether you’re African-American, gay, religious, non-religious—it doesn’t matter. We live in such a divided society. Finding your tribe, your people, is everything.

In this movie, you have a young African-American girl who’s been passed through the foster care system. There’s a mystery about whether something is after her—or if it’s her. She doesn’t have a voice, but she has to find a way to get through it with her best friend. And in the process, she helps this family grow and heal from rifts that have gone unaddressed. There’s a lot happening here on a family level that feels really needed right now.

Like I said, it’s that theme of finding family that really drew me to the story. I just fell in love with these characters.

We were so lucky to end up with amazing producers—Lisa included—who came in with no notes. They didn’t ask us to change anything. They really supported the vision. You don’t get that opportunity often. When you do, you hold onto those people for life.

PC: Beautifully said, and the perfect segue to the question I had for you, Lisa. There’s so much that goes into making a film that audiences aren’t privy to. The Other feels like one that weathered every curveball and still came out swinging. You shared on social media that this has been one of the most joyous creative endeavors of your career. What has made it so fulfilling for you? And how much more special is it that you got to bring it to life with a local crew, shining a light on the incredible talent in your own community?
Lisa: It was the perfect storm of timing and opportunity. I loved the script so much—and like Jeffrey said, I didn’t have any notes. So it became about digging in and just making something fun. Over the course of the project, I became really close with Paul and Jeffrey. We weren’t friends before, but now they feel like my chosen family. I made this film about family, and I feel like I found one through the process. That was really special.

Also, being independently financed and produced meant we didn’t have to answer to higher-ups. It was me, Jeffrey, Paul, Tim Nagle, Jeff Walker—and some creative input from friends and family. But beyond that, we were running the show. We got to make the movie we wanted to make, which isn’t always the case. [laughs]

Jeffrey: It’s not. [laughs]

Lisa: Yeah, I feel like we were so lucky. I don’t know if we’ll ever have that much creative freedom again, but I’m so grateful we had it this time.

PC: There’s something special about this creative team. The horror genre has evolved—it’s no longer just about the scares. But Jeffrey, to your point, it’s also about the story underneath, and each character taps into a distinct emotional thread. As producers, how did you approach that tonal balance? And what do you think horror made possible for you that other genres might not?
Jeffrey: For me, what I love about horror is that you get to play in a wider sandbox. Paul, Lisa, and I all share the same sense of humor—we’ll say things on the phone we’d never say out loud. [laughs] But Paul was able to get that subversive humor into the script in a way that felt really organic and authentic.

A lot of that comes from the writing, and a lot of it comes from creating a safe, collaborative environment where the actors felt comfortable exploring. We had an amazing cast, and that trust helped Paul strike the tonal balance. Some of it comes through in the shooting, but honestly, a lot of it is found in the edit.

Lisa and the team gave us the time and freedom to really work through the edit, which is rare. We had more time than we typically would, and it allowed us to find those moments and bring them to life. It was truly a once-in-a-lifetime experience.

Lisa: I would echo what Jeffrey said. For a horror film to be successful, it has to work on multiple levels. Yes, you need the scares. You need the kills. You need those chilling moments. But while the audience is focused on that, you can weave in other layers.

Paul is so good at threading in humor and subversiveness—just by who he chooses to center. He’s not hitting you over the head with a message or saying, “This is a drama about X.” In Hellbent, he centered the story around queer and trans characters. In The Other, he centers two young girls—one Black and one neurodivergent—as the leads. He tells stories about the kinds of characters I want to see on screen. And in today’s landscape, that in itself can still feel subversive.

Make sure to follow Jeffrey (Instagram) and Lisa (Instagram). The Other is out in select theaters and wherever you stream movies.