Interview published 17th September 2026
With Imprint Films set to release the Deathstalker Collection (1983–2025) 4K UHD + Blu-ray Limited Edition Steelbook in a 3D Lenticular Hardcase on September 30, there has never been a better time to revisit the long-running fantasy franchise. The collection brings together the original films and the new 2025 revival from writer and director Steven Kostanski, whose passion for practical effects and classic genre filmmaking has earned him a loyal following among cult cinema fans. We caught up with Kostanski to discuss stepping into the world of Deathstalker, honouring the franchise’s legacy, and bringing a fresh vision to life.
Let’s break the ice with a completely random question! As a fan of pretty much everything you do, if Deathstalker, Psycho Goreman, Frankie Freako, Borg, Doodad, Ahab and Manborg all got together for a road trip, where would they go first, and who would be the first one to cause trouble?
I think the answer is obvious: Frankie Freako. That guy lives for trouble! Though Manborg or Doodad both have a habit of accidentally causing chaos, I could see either of them blowing up a gas station or something similar while they make a pit stop. But Frankie would get bored 20 minutes into the trip and try to steer the car into oncoming traffic just for fun.
The original Deathstalker was released back in 1983 and has become a cult favourite among fantasy and sword-and-sorcery fans. Were you always a huge fan of the Deathstalker films and fantasy cinema in general? When the opportunity came along to make a new Deathstalker, was this something you had always dreamed of tackling, or was it more a case of being presented with the opportunity and immediately thinking, “Hell yeah, let’s do this”?
I’ve been a fan of Deathstalker and the Sword & Sorcery genre for a while; I became really fascinated by it during the early Astron-6 days while making the “Goreblade” shorts. So when I was presented with a list of Corman properties that were up for being remade, I locked in on Deathstalker immediately. I saw it as an opportunity to indulge my imagination and finally create a bunch of fantasy monsters and scenarios, which doesn’t come up often.
When approaching a new Deathstalker, was there a particular film, character, creature or moment from the original series that you were determined to pay homage to? At the same time, what were some of the things you wanted to completely reinvent and make your own?
I knew we had to have one of those pig guys roaming around, since they’re a staple of the classic series. I had no interest in retreading the plotlines of the earlier films, and wanted to explore the idea that Deathstalker is older and worn down by his years of wacky adventures.
Daniel Bernhardt feels like the perfect choice to step into the role of Deathstalker. With his background in martial arts, stunt work and action performance, what was it about Daniel that made you realise, “This is our Deathstalker”? And once you knew you had your leading man, how did the process of bringing his physicality and fighting abilities into the character develop?
Daniel was a key component to how I was imagining this new version of Deathstalker. After meeting Daniel and chatting about his career, I knew that he already embodied the character, with his long history of navigating the film industry as an actor/martial artist/stunt man/fight choreographer. He’s a guy who’s seen it all, and that was the exact vibe I wanted for the character. It was a very fun dynamic on set, pitting him and his team against my army of rubber monsters; it was two totally different dynamics clashing, which led to some very entertaining sequences.,
You’ve worked across horror, comedy, science fiction and now fantasy. Did Deathstalker present any new filmmaking challenges that you hadn’t encountered on your previous films?
Filming with horses was a new thing for me! We could only afford 2 and rushing to get the most out of them was definitely a challenge. Now when I watch the original Deathstalker, I get annoyed because somehow that movie was able to afford like 10 horses.
Overall, the movie was a challenge because it was easily my most ambitious film to date with a lot of moving parts, and barely any money to do it. It was tough wrangling so many people and elements without the proper resources. Luckily, I had an amazing team that fought to make the best movie possible and had my back every step of the way. Every department pulled out all the stops to bring this fantasy world to life and I’ll be forever grateful for that!
You have a reputation for pushing practical effects as far as possible, and Deathstalker is no exception. Was there a particular effect, sequence, creature or stunt that made you think, “We absolutely have to do this for real”?
For me, it’s never a question of “can we do this practically” because my movies could never afford digital effects even if we wanted them. I can do practical FX in my basement for no money, so that’s always the appealing option. I really enjoyed the Dreadite-growing sequence, since I love doing practical melt effects with wax and gelatin. I’m very happy with how it turned out; it’s exactly how I pictured it and feels very appropriate to an 80s-era fantasy movie.
One of the things I love about your films is your commitment to practical effects, particularly your incredible puppetry and creature work. What is it about puppetry that continues to draw you towards it? Is there something about physically having those creatures and characters on set that you feel simply can’t be replicated with CGI?
Having things your actors can react to and perform with always leads to better results. As a viewer, I would rather look at a physical creation that’s present in the frame and interacting with the lighting/atmosphere. It’s infinitely more interesting to me than something added after the fact. I also love the unpredictability of a practical effect on set, sometimes you get happy accidents that lead to fun moments that could never be replicated on a computer.
The music in Deathstalker absolutely rocks. The score by Brendan McCreary, Chuck Cirino, Slash and Bear McCreary is a huge part of the film’s identity, and I’m not kidding when I say I’ve had it regularly playing on my personal playlist. Given how prominent the music is throughout the film, how involved were you in developing and refining the score? Did you have a particular musical sound or atmosphere in mind from the beginning that you wanted the composers to capture?
I’ve collaborated with Blitz//Berlin multiple times now, and it’s such an effortless process at this point; I can’t imagine going with anyone else as composers. Martin and I have such good genre shorthand that he almost immediately got what I was looking for with Deathstalker and we had a lot of fun coming up with motifs for each character. They also did a fantastic job integrating the Deathstalker theme composed by Bear McCreary/Slash/Chuck Cirino. From the beginning, I wanted the Deathstalker 2 theme woven throughout since it’s such an iconic theme, and to actually have that happen, but to have it be updated by such iconic artists was a real dream come true.
If you were given the opportunity to write and direct another previously released film entirely in your own style, which film would you choose and why? And as a long-time fan, I have to say I would absolutely love to see your take on the 1986 classic Labyrinth on the big screen!
Labyrinth would be cool! But I don’t really have a ton of interest in doing any straight remakes of anything. There’s no fun in retreading the same story again. The only reason I was cool with it for Deathstalker was that, technically, in my head, it’s Deathstalker 5. I need room for my imagination to go nuts; otherwise, it’s no fun for me. If I had to pick something though, I guess I’d remake Scanner Cop 2.
You’ve now given us The Void, Psycho Goreman, Frankie Freako and Deathstalker. At this point, what is the one completely insane film idea you’ve got sitting in your head that you haven’t been allowed to make yet?
I have a sci-fi horror movie full of biomechanical monsters that I really want to make, and the pieces are slowly coming together. But it’s tough getting anything made these days, especially something that requires a little bit of money.
Deathstalker (1983)
Finally, as someone who has followed your work for a long time, what are you currently working on that you can tell us about? And I must ask the question I’m sure many of your fans would love answered: is there any chance we might ever see Psycho Goreman return to Earth for another adventure?
I’m prepping a movie to shoot next summer, based on a script by Conor Sweeney. I can’t spoil the details, but if you’re familiar with my work, you know to expect lots of FX.
I’d love to do another Psycho Goreman, but to reiterate my earlier point, it’s tough to get anything made these days. If you know anybody with millions of dollars burning a hole in their pocket, let me know!
Deathstalker Collection (1983 – 2025) – 4K UHD + Blu-ray Limited Edition Steelbook in 3D Lenticular Hardcase + Posters – Imprint Collection #663 – 665 will be Available on DVD & Digital from September 30th thanks to Imprint Films!
CLICK HERE TO ORDER YOUR COPY TODAY!
About the Reviewer
Peter Walkden
Film writer and curator with a deep passion for cinema, genre filmmaking, and physical media. Exploring new releases, cult favourites, and overlooked films, with a strong focus on atmosphere, storytelling, and the theatrical experience.
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