When it comes to dark, unflinching storytelling, few independent filmmakers push boundaries like Chad Ferrin. From Pig Killer to Nightcrawler, Ferrin has built a cult reputation for exploring the disturbed psychology behind true crime and horror. His latest project, Ed Kemper – known in Australia as The Co-Ed Killer, dives deep into the story of one of history’s most notorious serial murderers.
Growing up on a small Midwest farm, Ferrin’s first taste of the macabre came from late-night reruns of The Twilight Zone and Alfred Hitchcock Presents. “I was glued to a 13-inch black-and-white television,” he recalled. “Those shows opened my imagination. I wanted to make movies before I even knew how.”
After studying film and theatre, a family connection landed him a production-assistant job on The Prophecy. That was the moment he packed his car, left Minnesota and drove to Los Angeles — and he’s been there ever since. “I started at the bottom and worked my way up,” he said. “By 1998 I’d sold my house to make my first film, Unspeakable, and I’ve never stopped.”
Ferrin’s fascination with horror comes from personal experience and escapism. “When you grow up around death on a farm — animals dying, sometimes having to kill them — it stays with you,” he said. “Cinema became my escape from real-world trauma.”
That drive pushed him to learn every craft in filmmaking — writing, editing, production design — especially when budgets were tight. “If a movie turns out bad, it’s on me,” he said bluntly. “You can’t blame the budget. You just work harder.”
Ferrin’s friendship with producer Mike Muscow (who worked on Ed Gein and The Hillside Strangler) led to the script for Ed Kemper, written by Stephen Johnston. “It was originally a two-million-dollar film,” Ferrin said, “but I knew I could make it happen for a fraction of that. I rewrote it to strengthen the mother-son dynamic and shot it in ten days.”
Authenticity was crucial. “The script was incredibly accurate — names, dates, even the detail of Kemper locking his keys in the car before killing a victim,” Ferrin explained. “I cross-checked everything online and watched hours of interviews. Kemper was intelligent, articulate, terrifying — and that made him fascinating.”
For Ferrin, the goal wasn’t just horror but humanity. “You can’t just paint him as a monster. His abusive mother and upbringing shaped who he became. I wanted audiences to understand and fear him in equal measure.”
Ferrin’s upcoming slate is stacked: Dorothea Puente, about a grandmotherly murderer who poisoned tenants and buried them in her backyard; Sunset Strip Killers; and Richard Ramirez: The Night Stalker. He admits the latter is his darkest script yet. “It’s vile, gut-wrenching — there’s no redemption in him. But if you’re going to make it, make it truthful.”
The Netflix Monster series (Dahmer, Ed Gein) helped boost interest in his films. “When Dahmer blew up, we were still editing Ed Kemper,” he said. “We sold it to Dread in 24 hours after mentioning the trend. Now they’re distributing my next two films.”
Recreating 1970s America on a shoestring budget was one of Ferrin’s biggest hurdles. “Finding period-accurate locations is tough,” he said. “Even a power outlet or radiator cap can ruin authenticity. I grew up watching film noir, so I notice everything.”
That dedication pays off. “When you nail the look and feel of the era, it’s rewarding,” he added. “And the 70s were scarier — no phones, no Wi-Fi. If you were alone out there, you were really alone.”
Ferrin’s previous hit Pig Killer, starring Jake Busey, showcased another real-life murderer. “Jake was incredible — fearless, professional, and all-in,” Ferrin said. “He deserves far more credit than he gets.”
With Dorothea releasing next, Ferrin describes it as “Goodfellas meets Whatever Happened to Baby Jane — a mix of dark humour and horror.” Always looking forward, he’s already in post-production on Sunset Strip Killers and preparing The Night Stalker for 2026.
Before wrapping up, Ferrin shared some personal favourites every cinephile should see:
Zeder, House with Laughing Windows, Blue Sunshine, Planet of the Vampires, The Naked Prey, Riot on Cellblock 11, Sorcerer, Treasure of the Sierra Madre, Halloween III, and The Exorcist III. “Anything by Mario Bava is gold,” he smiled.
“Every film is a learning experience,” Ferrin concluded. “I put my heart and soul into each one, but once it’s done, I move on. That keeps me sane.”
Ed Kemper (The Co-Ed Killer) is available now on digital, Blu-ray, and VOD — a chilling dive into the mind of one of America’s most unsettling killers, told by a filmmaker who refuses to look away.