john carpenter

John Carpenter has this one recurring nightmare.

“I’m in a huge, massive town I don’t really know,” he says, “and I’m looking for the movie district. And inevitably all the theaters are closed down. They’re all closed down. That’s what the dream is.”

I’m visiting Carpenter at his longtime production house in Hollywood on one of L.A.’s unjustly sunny October afternoons. A vintage “Halloween” pinball machine and a life-size Nosferatu hover near his easy chair. I tell him I don’t think Freud would have too much trouble interpreting that particular dream.

“No, I know,” he says, laughing. “I don’t have too much trouble with that either.”

Nonetheless, it truly haunts him — “and it has haunted me over the years for many dreams in a row,” he continues. “I’m either with family or a group, and I go off to do something and I get completely lost. [Freud] wouldn’t have too much trouble figuring that out either. I mean, none of this is very mysterious.”

Carpenter is a gruff but approachable 77 these days, his career as a film director receding in the rearview. The last feature he made was 2010’s “The Ward.” His unofficial retirement was partly chosen, partly imposed by a capricious industry. The great movie poster artist Drew Struzan died two days before I visited — Carpenter says he never met Struzan but loved his work, especially his striking painting for the director’s icy 1982 creature movie “The Thing” — and I note how that whole enterprise of selling a movie with a piece of handmade art is a lost one.

“The whole movie business that I knew, that I grew up with, is gone,” he replies. “All gone.”

John Carpenter with John Mulaney, appearing as a part of “Everybody’s in L.A.” at the Sunset Gower Studios in May 2024.

(Adam Rose / Netflix)

It hasn’t, thankfully, made him want to escape from L.A. He still lives here with his wife, Sandy King, who runs the graphic novel imprint Storm King Comics, which Carpenter contributes to. He gamely appeared on John Mulaney’s “Everybody’s in L.A.” series on Netflix and, earlier this year, the Los Angeles Film Critics Assn. gave him a Career Achievement Award — a belated lovefest for a veteran who was sidelined after “The Thing” flopped, cast out into indie darkness and was never personally nominated for an Oscar.

The thing that does keep Carpenter busy these days (other than watching Warriors basketball and playing videogames) is the thing that might have an even bigger cultural footprint than his movies: his music. With his adult son Cody and godson, Daniel Davies, Carpenter is once again performing live concerts of his film scores and instrumental albums in a run at downtown’s Belasco this weekend and next.

The synthy, hypnotic scores that became his signature in films like “Halloween” and “Escape from New York” not only outnumber his output as a director — he’s scored movies for several other filmmakers and recently made a handshake deal in public to score Bong Joon Ho’s next feature — but their influence and popularity are much more evident in 2025 than the style of his image-making.

From “Stranger Things” to “F1,” Carpenter’s minimalist palette of retro electronica combined with the groove-based, trancelike ethos of his music (which now includes four “Lost Themes” records) is the coin of the realm so many modern artists are chasing.

Very few composers today are trying to sound like John Williams; many of them want to sound like John Carpenter. The Kentucky-raised skeptic with the long white hair doesn’t believe me when I express this.

“Well, see, I must be stupid,” he says, “because I don’t get it.”

“The true evil in the world comes from people,” says Carpenter. “I know that nature’s pretty rough, but not like men.

(Jason Armond / Los Angeles Times)

Carpenter is quick to put himself down. He always says that he scored his own films because he was the only composer he could afford, and that he only used synths because they were cheap and he couldn’t properly write music for an orchestra. When I tell him that Daniel Wyman, the instrumentalist who helped program and execute the “Halloween” score in 1978, praised Carpenter’s innate knowledge of the “circle of fifths” and secondary dominants — bedrocks of Western musical theory that allowed Carpenter’s scores to keep the tension cooking — he huffs.

“I have no idea what he’s talking about,” Carpenter says, halfway between self-deprecation and something more rascally. “It all comes, probably, from the years I spent in our front room with my father and listening to classical music. I’m sure I’m just digging this s— out.”

Whether by osmosis or genetics or possibly black magic, Carpenter clearly absorbed his powers from his father, Dr. Howard Carpenter, a classically trained violinist and composer. Classical music filled the childhood home in Bowling Green and for young John it was all about “Bach, Bach and Bach. He’s my favorite. I just can’t get enough of Johann there.”

It makes sense. Bach’s music has a circular spell quality and the pipe organ, resounding with reverb in gargantuan cathedrals, was the original synthesizer.

“He’s the Rock of Ages of music,” says Carpenter, who particularly loves the fugue nicknamed “St. Anne” and the Toccata and Fugue in D Minor. “Everybody would go back to Mozart or Beethoven. They are astonishing — Beethoven is especially astonishing — but they’re not my style. I don’t feel it like I do with Bach. I immediately got him.”

Carpenter was also a film score freak since Day 1. He cites the early electronic music in 1956’s “Forbidden Planet” and claims Bernard Herrmann and Dimitri Tiomkin as his two all-time favorites. Just listen, he says, to the way Tiomkin’s music transitions from the westerny fanfare under the Winchester Pictures logo to the swirling, menacing orchestral storm that accompanies “The Thing From Another World” title card in that 1951 sci-fi picture that Carpenter remixed as “The Thing.”

“The music is so weird, I cannot follow it,” he says. “But I love it.”

Yet Carpenter feels more personally indebted to rock ‘n’ roll: the Beatles, the Stones, the Doors. He wanted to be a rock star ever since he grew his hair long and bought a guitar in high school. He sang and performed R&B and psychedelic rock for sororities on the Western Kentucky campus as well as on a tour of the U.S. Army bases in Germany. He formed the rock trio Coupe de Villes with his buddies at USC and they made an album and played wrap parties.

He also kept soaking up contemporary influences, listening to Warren Zevon’s “Werewolves of London” while location scouting for “Halloween.” Peter Fonda later introduced Carpenter to Zevon and he wanted the director to adapt the song into a film that never happened (starring Fonda as the werewolf, but “this time he gets the girl,” Carpenter recalls). In the ’80s he blasted Metallica with his two boys and he still loves Devo.

It’s incredibly rare for a film director to score their own films, rarer still for one to spend decades on stage as a performing musician. The requisite personalities would seem diametrical.

“My dad was a performing musician, so it was just part of the family,” Carpenter says. However, until 2016, when Carpenter first toured with his music, he was consumed with stage fright. “I had an incident when I was in a play in high school,” he says. “I went up and I forgot my lines. Shame descended upon me and I had a tough time. I was scared all the time.”

The director credits his touring drummer, Scott Seiver, for helping him beat it.

“Your adrenaline carries you to another planet when that thing starts,” he sighs with pleasure. “You hear a wall of screaming people. It’s a big time.”

He pushes back against the idea that directors “hide behind the camera.”

“The pressure, that’s the biggest thing,” Carpenter says. “You put yourself under pressure from the studio, you’re carrying all this money, crew, you want to be on time.”

He remembers seeing some haggard making-of footage of himself in post-production on “Ghost of Mars” in 2001 and thinking: Oh my God, this guy is in trouble. “I had to stop,” he says. “I can’t do this to myself anymore. I can’t take this kind of stress — it’ll kill you, as it has so many other directors. The music came along and it’s from God. It’s a blessing.”

John Carpenter is grateful but he doesn’t believe in God. He believes that, when we die, “we just disperse — our energy disperses, and we return to what we were. We’re all stardust up there and the darkness created us, in a sense. So that’s what we have to make peace with. I point up to the infinite, the space between stars. But things stop when you die. Your heart stops, brain — everything stops. You get cold. Your energy dissipates and it just… ends. The End.”

This is not exactly a peaceful thought for him.

“I mean, I don’t want to die,” he adds. “I’m not looking forward to that. But what can you do? I can’t control it. But that’s what I believe and I’m alone in it. I can’t put that on anybody else. Everybody has their own beliefs, their own gods, their own afterlife.”

He describes himself as a “long-term optimist but a short-term pessimist.”

“I have hope,” he says, “put it that way.” Yet he looks around and sees a lot of evil.

“The true evil in the world comes from people,” says Carpenter, who has long used cinematic allegories to skewer capitalist pigs and bloodthirsty governments. “I know that nature’s pretty rough, but not like men. You see pictures of lions taking down their prey and you see the face of the prey and you say: ‘Oh, man.’ Humans do things like that and enjoy it. Or they do things like that for power or pleasure. Humans are evil but they’re capable of massive good — and they’re capable of the greatest art form we have: music.”

The greatest?

“You don’t have to talk about it. You just sit and listen to it. It’s not my favorite,” he clarifies, alluding to his first love, cinema — “but it’s the one that transcends centuries.”

Music has always been kinder to him than the movie business. That business recently reared its ugly head when A24 tossed his completed score for “Death of a Unicorn.” (At least he owns the rights and will be putting it out sometime soon.) In addition to the high he gets from playing live, he is currently working on a heavy metal concept album complete with dialogue. It’s called “Cathedral” and he’ll be playing some of it at the Belasco.

It’s essentially a movie in music form, based on a dream Carpenter had. Though not one he finds scary. What scares Carpenter, it seems, is not being in control.

That happened to him in the movie world, it’s happening more and more as what he calls the “frailties of age” mount and it happens in that nightmare about getting lost in a big city and not finding any theaters.

“But I can’t do anything about it,” he says. “What can I do? See, the only thing I can do is what I can control: music. And watching basketball.”

Future Ruins, the hotly-anticipated Nov. 8 film-music festival from Nine Inch Nails’ Trent Reznor and Atticus Ross, has been canceled.

“Unfortunately Future Ruins will not move forward this year,” organizers said in a statement. “The reality is, due to a number of logistical challenges and complications, we feel we cannot provide the experience that’s defined what this event was always intended to be. Rather than compromise, we’re choosing to re-think and re-evaluate. Meanwhile, we are sorry for any inconvenience and appreciate all the interest and support.”

The Live Nation-produced event at the Los Angeles Equestrian Center was booked as a compendium of cutting-edge composers to showcase their film work in an unorthodox live setting. Headlined by the Nine Inch Nails bandmates, who have won Oscars for their film scores including “The Social Network” and “Soul,” the event was slated to host John Carpenter, Questlove, Danny Elfman, Mark Mothersbaugh and Hildur Guðnadóttir among many others.

The fest’s cancellation comes on the heels of Nine Inch Nails’ sold-out “Peel It Back” tour, which hit the Form last month and is scheduled to return to Southern California in March next year. The band will also play a club-heavy version of its live set as Nine Inch Noize (with collaborator Boys Noize) at Coachella next year.

A surprising number of iconic and underrated 80s movies are currently available to stream – here’s the best of the best

Several incredible movies from the 1980s are available to stream, but what’s the cream of the crop?

Many film buffs will agree that the 80s was one of, if not the best decade for cinema in history, with many of the most iconic films of all time releasing in the space of just 10 years.

From rip-roaring blockbusters to spine-tingling horror movies, the decade launched franchises, produced acclaimed filmmakers and broke box office records left, right and centre.

Let’s run down 10 of the best undeniable classics and a handful of underrated gems, from sci-fi epics to stunning animation and guaranteed tearjerkers.

And, even better, they’re all available to stream right now in the UK, including a handful you can watch completely free.

READ MORE: BBC Gavin and Stacey’s Mathew Horne choked up as he announces colleague deathREAD MORE: Peaky Blinders fans ‘work out’ who next James Bond villain will be after Steven Knight announcement

The Blues Brothers

This musical masterpiece starring John Belushi and Dan Aykroyd is undoubtedly one of the funniest movies produced during this decade.

Based on their iconic Saturday Night Live characters, Jake and Elwood Blues race against time to assemble their R&B band for one last show to save the orphanage where they were raised.

Featuring appearances from beloved blues musicians such as Ray Charles, Aretha Franklin and James Brown, this love letter to music and the city of Chicago is guaranteed to leave you tapping your toes.

The Blues Brothers is available to stream on NOW.

ET

If there’s one name who dominated film culture in the 80s, it’s almost certainly Steven Spielberg.

From acclaimed historical dramas such as The Colour Purple and Empire of the Sun, to rollicking adventures with Indiana Jones, the blockbuster filmmaker released what many consider to be his best films during the decade.

One of his most daring and personal projects at that time, E.T. the Extra-Terrestrial, was a risky venture thanks to its small-scale drama and bold premise. Thankfully, the gamble paid off, knocking Star Wars off its podium and remaining the highest-grossing film of all time, until Spielberg beat his own record a decade later with Jurassic Park.

ET is available to stream on Netflix.

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Die Hard

For our money the best action film ever made, Die Hard is a guaranteed crowd-pleaser whether you’re watching at Christmas or during a heatwave.

Launching the big screen career of Hollywood powerhouse Bruce Willis, John McTiernan’s sublime thriller remains so influential to this day that ‘Die Hard on a [insert location/vehicle here]’ is still a bankable pitch for an action film.

With so many imitators out there, make sure you find time for the triumphant genuine article soon.

Die Hard is available to stream on Disney+.

A Dry White Season

This underrated historical drama shines a light on the devastating realities of apartheid in South Africa during the 1970s.

Featuring Donald Sutherland as a teacher at a school for white students, he’s forced to question his morals when the son of his Black gardener is viciously murdered by the white police.

One of the first major Hollywood films directed by a Black woman, Euzhan Palcy, and also featuring an oft-forgotten Oscar-nominated performance from Marlon Brando, A Dry White Season is an essential and gripping part of cinema history that often gets overlooked.

A Dry White Season is available to stream on Prime Video.

The Thing

Body horror became a defining sub-genre of the 1980s thanks to the advancement of special effects and film fans’ growing appetite for boundary-pushing scares.

Widely considered the best example, with masterful practical effects and tension in every frame, John Carpenter’s The Thing is a creature feature like no one had ever seen before – or since.

Starring Kurt Russell, this eerie, paranoid thriller about an Antarctica research team who get infiltrated by a shape-shifting extra-terrestrial was a box office flop at the time but has since become a beloved horror classic.

The Thing is available to stream for free on ITVX.

The Fly

With so many excellent gory masterpieces to choose from, why just settle for one example?

Arguably even more horrifying than The Thing is David Cronenberg’s masterpiece The Fly, a morbid reimagining of a classic sci-fi horror from 1958.

Jeff Goldblum portrays an ambitious scientist who begins to transform after perfecting the art of teleportation, only for his machine to malfunction with grotesque results.

The Fly is available to stream on Disney+.

Do the Right Thing

From body horror to social satire, the 80s were also renowned for a wide variety of thought-provoking dramas.

Influential director Spike Lee was just 32 when he made Do the Right Thing, cementing himself as one of the most prominent Black artists in history by tackling race relations in America like never before.

Combining laugh-out-loud humour with high-stakes drama and career-best performances from much of its cast, which includes Lee himself alongside Danny Aiello, John Turturro and Rosie Perez, there’s a reason why many cinephiles still consider it among the filmmaker’s best work.

Do the Right Thing is available to stream on NOW.

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My Neighbour Totoro

We’d be remiss not to include any animated films on a list of the best of any decade and, while Disney had its fair share of hits, from The Fox and the Hound to The Little Mermaid, in our opinion this masterpiece from Studio Ghibli wipes the floor with all of them.

My Neighbour Totoro is a timeless tale of childhood seen through the whimsical lens of Japanese animation genius Hayao Miyazaki, who injects every heartfelt moment with fantasy and wonder.

If you’ve already seen this animated gem, or fall in love with the furry forest spirit on your first watch, all of Studio Ghibli’s incredible films are available on the same service.

My Neighbour Totoro is available to stream on Netflix.

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Blade Runner

Yes, it’s yet another science fiction classic, but you can’t ignore perfection. While it may have spawned a generation of moody film bros, it’s easy to see why this atmospheric, neon-drenched cyberpunk thriller caught the imagination of so many.

From cinematic mastermind Ridley Scott, who already reinvented the genre with his seminal space horror Alien in 1979, comes a gripping existential head-trip starring Harrison Ford as a futuristic detective tasked with hunting down synthetic humans known as replicants.

Blending classic noir with one of the bleakest visions of the future ever put to film, Blade Runner is worth watching for the visual splendour alone, but will also keep you thinking long after the credits roll.

Blade Runner is available to stream on Prime Video.

Raiders of the Lost Ark

What’s left to say about Raiders of the Lost Ark that hasn’t been said a million times before?

Somehow, Spielberg delivered two masterpieces back-to-back, with the introduction of yet another iconic Harrison Ford hero arriving in 1981, a year before the acclaimed filmmaker made millions of moviegoers sob uncontrollably with ET.

The most iconic movie star of all time in his prime, an enthralling, globetrotting adventure, booby traps and ancient puzzles galore, and Nazis getting punched in the face. What’s not to love?

Raiders of the Lost Ark is available to stream on Netflix and for free on Channel 4.