An Interview with Nick Lyon & Serah Henesey about The Surprise Visit
Nick Lyon is an award-winning American / German filmmaker who has made a name for himself in the horror, action, war, and thriller genres. Lyon is an accomplished director, writer, and producer with the ability to create big worlds on a budget. Lyon's work is characterized by its intense, atmospheric style and an emphasis on suspense and tension. Stylistically, Lyon combines strong performance together with action, visual effects, lighting, sound design, and camera angles his films keep audiences on the edge of their seats. Lyon’s filmmaking motto is “ It doesn’t cost a lot to set up great camera angles, and for actors to deliver great performances”, which is at the heart of all of his movies. A craftsman with the ability to transcend across genres, Lyon’s films have been commercially well-received, and he continues to be a respected and influential figure in the world of gritty drama, science fiction, horror, disaster, and thriller filmmaking. In his most recent theatrically released film “On Fire” which Lyon co-wrote, directed, and produced, he tells the story of a family who must escape the flames of a forest fire that threatens their home and lives. The film stars Peter Facinelli, Fiona Dourif, Asher Angel, and Lance Henriksen. Lyon created the film to bring awareness to the growing problem of wildfires worldwide.
Can you tell us about yourself? How did you begin your career, and what drew you to the world of cinema? What were some of your early projects and collaborations before The Surprise Visit?
I’ve always been fascinated by art in all its forms—fine art, photography, performance, literature—you name it. Film was the medium that brought all these elements together in a dynamic and powerful way. My journey into cinema began first in Portland Oregon where I worked as a Mannequin Restorer and studied art, but then moved to Germany, where I learned the language and enrolled in a film academy (The Film Academy Baden Weurtemburg in Ludwigsburg). I studied under great professors including a memorable seminary with Werner Herzog. I worked my way through college as a projectionist in a movie theater and then as a doorman at a large hopping club in Stuttgart called Das Unbekannte Tier. After graduating the film academy and directing award winning short film Hilda Humphrey among others, I cut my teeth directing music videos, which led to my first feature film, I Love You, Baby, starring the legendary Maximilian Schell. This film was released theatrically in Germany by Warner Brothers and marked my entry into the industry.
From there, I moved back home to Portland, Oregon and directed Punk Love, a film I self-produced, wrote, and directed. My career then expanded into various genres with films like Species: The Awakening for MGM. Since then, I've directed and produced over 40 films, ranging from action and sci-fi to family, Christmas, and horror thrillers, including Rise of the Zombies, Zombie Apocalypse, and Z Nation. During the pandemic, I collaborated with Sarah Hennessy and her husband Nathan on The Surprise Visit, a project we tackled with a small, tight-knit crew.
As an artist, which directors and films have influenced you?
Early on, directors like David Lynch captured my imagination, particularly with his bold, surreal storytelling. I’ve always had a deep appreciation for art-house cinema, but if I had to pick a favorite, it would be Ridley Scott. He’s a true master who can effortlessly jump between genres, creating breathtaking action and sci-fi films with a distinct, atmospheric look. His work is always innovative and visually stunning, which is something I strive for in my own films.
What is your artistic vision? Are there specific themes or issues you aim to explore in your work? How do you keep your perspective fresh as an independent filmmaker?
I enjoy creating a cohesive look and mood for a film, and as a director it’s magical how all the elements are complete chaos and then orchestrated into what becomes the final image that is precise and intentional. Tension is at the core of my storytelling. Whether it’s a love story, thriller, action film, or creature feature, tension is what keeps an audience engaged. It’s the lifeblood of good drama, and without it, I quickly lose interest. While I often explore grand, high-stakes scenarios—like environmental crises or personal disasters—I’m drawn to narratives that challenge and invigorate me creatively. Every project is a chance to build a world that tells a compelling story, and I find immense inspiration in the filmmaking process itself. Creating those worlds keeps my perspective fresh and my passion alive.
What role do you believe independent filmmakers have in shaping the future of cinema and media?
Art is a tradition that goes against tradition until it becomes a tradition itself. Independent filmmakers can be at the forefront of this cycle, constantly pushing boundaries and redefining storytelling and film styles. Now we are moving beyond cinema into gaming and series and beyond. We have the freedom and the responsibility to break conventions while also preserving some of the timeless elements of cinema. This dynamic balance between innovation and tradition is crucial for the evolution of the medium, but right now I feel as if we are evolving as are the viewers. It’s no longer the same as it was 20 years ago. Film was always expressionistic, it will come to you, entertain people who just receive the message in a cinema or television and participate by being emotionally influenced by the medium. Now, I feel that people want to be entertained in a much more proactive way. We want to contribute. There are games, VR, augmented reality, and I think that something amazing will evolve and is evolving that will take entertainment and cinema into a place we cannot yet grasp, or do not yet understand. But I feel like it’s coming and cinema of the future could be anything from realistic interactive experiences to living in a different reality all together. But for now, with all the craziness out there, I am actually wishing for a more analog experience in a cinema and would like to see us go back to the roots of great storytelling.
The Surprise Visit is based on a true story. How did you get involved in this project, and what motivated you to tell this particular story?
I was brought on to direct and produce The Surprise Visit. The story is based on a real-life event experienced by Nathan and his family in Virginia. Nathan and Serah initially developed a treatment, and then Stephen Meier wrote the first draft of the script. During production, myself and Andrew Fein adapted elements to fit the locations, production and character needs. The core of the story revolves around a real robbery; Nathan’s family had an employee whose son broke in and stole jewelry. While some details were embellished, the film stays true to the essence of that dramatic initial premise and runs with that.
Can you tell us about the production and post-production stages of The Surprise Visit? What were some challenges you faced?
We shot the film with a tiny crew of about seven people, each wearing multiple hats—a setup that posed its own challenges. Budget constraints were another hurdle; it was an extremely low-budget production. I also took on the task of editing the entire film by myself, which, while time-consuming, was an enjoyable process. Despite these challenges, the shoot went smoothly, and it was one of those rare projects that felt genuinely fun from start to finish.
How was the film received at film festivals? What role do you think festivals play in supporting independent films?
We secured distribution with Vertical Entertainment almost immediately after finishing the film, so our involvement with festivals was limited. Festivals are fantastic for finding distribution and generating publicity, especially for films that make a big splash at major events. But ultimately, my goal is to get the film seen by audiences, and distribution is key to achieving that.
What are you currently working on? What’s next for you?
I’m always juggling five or six projects at any given time—you have to keep a lot of irons in the fire in this industry. Right now, I’m particularly excited about two projects: a supernatural horror film and a sci-fi action piece called The Vessel, which follows an Antarctic research crew that uncovers something terrifying in the ice. Additionally, I’m gearing up to direct and produce Face of Evil, a supernatural horror film set in a small town in Indiana, which we’re shooting in October. Both projects allow me to explore new territory, and I’m eager to bring those stories to life.
Born and bred in Sydney, Australia to European/Middle Eastern parents, Serah danced from a young age. After joining Youth Theater at age 16, she finished her training in London, where she performed in both period and contemporary plays. Serah is an award-winning actress, with an established career in Europe. She was a lead on a hugely successful sitcom in Turkey for four years. She also kickboxes, performs her own stunts (including wire work), and has had several lead roles in drama, action, comedy and thriller features. After accruing a huge following and success on Turkish TV for several years, Serah moved to Los Angeles to pursue a more international career. Since then she has enjoyed roles on Ray Donovan, Scandal, Entourage, and other series, while also performing in several plays, including most recently Darren Bousman's (SAW II, III, IV & Spiral) Theatre Macabre.
Her latest venture, The Surprise Visit, is one she both stars in and produced. This is her first time producing a film. The Surprise Visit story belongs to Nathan Cowles and Serah, and is based on a true story that took place on the historical Virginia estate it was filmed on.
Please tell us about yourself. How did you start your career, and how did you get into the world of cinema? What are some of the projects you made and collaborations you had before The Surprise Visit?
My love of film started a very young age, mostly thanks to my mom. She was a single working mom & the only fun activities we shared together was ‘going to the movies’ & I got a lot of joy out of it, it was a magical experience every time. I started theater as a young teenager in Australia. We performed in drama festivals all over Sydney. Back then I thought of it as a hobby, I didn’t know it could be a career or how to make it one. When I moved to Turkey in my early 20s I entered a Beauty Pageant, for fun really, but I got to represent my country as ‘Miss Turkey’ in Singapore at the Millenium (literally- I was on stage dancing with the other finalists. Brazilian Samba dancers & ‘Frankie Goes To Hollywood’ when Y2K was counted down) and then when I came back to Turkey I got offers. I was on a very successful sitcom for several years in Turkey, then I went on to get my acting degree in London, having TV shows in London, Germany, Holland & shooting several films in Bulgaria & more in Turkey. I moved out to Los Angeles because I wanted an international career, I’ve enjoyed parts in several TV shows & films as an actor (Scandal, Ray Donovan, The Guilty, The Contract, Double Identity) & worked in several facets of film finance & production too.
As an artist, which directors and films are your influences?
I think the Greatest Of All Time was Sidney Lumet. He was a genius. No one made, or makes films like he did. I also grew up with singing/dancing films - I mean who made dancing look like poetry the way Rita Hayworth & Fred Astaire did so I love the golden age of Hollywood. I think LaLa Land & Babylon were beautiful films. I can’t see myself making one because they are very expensive & not exactly ‘indie’ are they hahaa! But I do love watching them. & more the reason why I loved ‘The Shape Of Water’ & not just because I LOVE Guillermo Del Toro but I loved the way he incorporated that ‘musical’ quality into the film with the dance number. I also love edgy films. I remember first watching ‘Amores Perros’ & being blown away by the film & the talent of Alejandro Inarritu. Or Oldboy (the original) & Park Chan-Wook blew my mind!!! And I also love European Cinema. Lars Von Trier remains one of my favorite directors & then there’s Giuseppe Tornatore which I can feel rather romantic about :) and I believe Paolo Sorrentino to be a great director who is very visually interesting to watch. The most recent American film/directors that blew my mind were Daniel Kwan & Daniel Scheinert with ‘Everything Everywhere All At Once’ WOWW what a work of art. Just amazing.
What is your vision as an artist? What are the themes/issues you try to reflect in your projects? What steps do you take to maintain a fresh perspective as an independent artist?
I like films that explore the human psyche, our fears, our frailties, our joy. I like films that ‘stay with you’. That you’re still thinking about a week, a month after watching it. I like films that make you, question you. What would I do if I were in that characters shoes? How would I respond?
What steps do I take to maintain my perspective as an independent artist? I WATCH ALOT. I watch everything. I watch indies, I watch commercial fare, I watch European films. I watch the classics. I used to watch 3-4 films a night. I’m a new mom now so this last year I haven’t been able to watch as much as I used to but I like to see what everyone out there is doing & I’m continually inspired by talent.
What role do you believe independent filmmakers play in shaping the future of cinema (and media)?
Huge! None of the current name directors or film makers started off making $50million studio films. They all started with smaller independent films & I think it made them better directors & film makers. You learn everything when you start from the ground up. And to be honest I’m not too sure studios are willing to bet big bucks on artistic or edgy films. So we have to make them ourselves & at some point they do catch on. I think there’s a huge need for more artistic adult films (whether they be comedies, thrillers- I mean who doesn’t miss a good noir film?) And while I understand why we need superhero films to keep theaters alive (and I’m all for that) I know that people my age just aren’t that interested in seeing them.
I understand that The Surprise Visit is based on a true story. How did you get the idea for the film and what made you want to tell this story? Please tell us about the project.
The Surprise Visit is filmed on a historic estate where the actual events took place. When I first saw it I knew instinctively that it would lend itself to a fantastic horror film & I found a perfect script which we intended on shooting in early 2020 & then the pandemic hit. The script had kids in it & we figured out it was going to be impossible to shoot with kids during the pandemic so we scrapped our idea. Then when we visited Virginia later in the year & had to stay there indefinitely we thought we should shoot something while we were there & tried coming up with various ideas for a script with a limited crew/cast & singular location- a pandemic film. I’ve always loved ‘The Strangers’ & the film literally has 3 people in it & the rest are in ‘masks’ hahahaa - its a PERFECT pandemic film. So we started off with that idea. My then boyfriend (now husband) kept telling me about this theft by drug addicts that occurred on the property & how we should use that in the film. So we started there, it is based on a true story. We just ‘Hollywood-ised’ the ending. Nathan & I came up with the story & a very talented writer friend of mine for years ‘Stephen Meier’ wrote us the script.
What made me want to tell the story? Well in the original the drug addicts raid an empty home. I wanted to explore what would happen if they raided the house thinking it was empty but the daughter of the owners of the house did a ‘Surprise Visit’ not knowing her mom was out of town. What would you do/think/feel if you woke up in the middle of the night to your house being raided by 2 scary addicts…? What would you do if it was someone you knew? What would you do if you found out one was pregnant..? See, so many questions :) I’m not saying more!
Tell us about the production and the post-production stages of your film. What were some of the challenges you faced when making The Surprise Visit?
Uhhh filming in a pandemic. Before vaccinations. It was scary. I produced the film & acted in it. It was my first time doing both in a film. I’ve lived & worked in LA most of my time in the States, I can find 100s of make-up artists, wardrobe people, art directors, set designers in LA at the drop of a hat. Try finding one in rural Virginia in a pandemic!!! I remember I was a week away from shooting & I still hadn’t found half my crew & I was panicking. I cast the film myself too & had to watch 100’s of auditions in rural Virginia with sometimes sketchy or none existent internet. And I had to do chemistry reads with actors in different parts of the States on Zoom calls. Mind boggling how we managed to put it together really. It really was a labor of love.
So I knew pretty much everything about ‘pre & on-set production’ of a film. I’d never done post. I mean I’ve been in the editing room & such but I remember when we got the ‘deliverables’ list from Vertical who distributed the film. I remember getting anxiety when I first read it (or tried to read it lol) it might as well have been in Japanese. I had NO idea what half the stuff on the list was. (I did get some help in the form of Greg White- so thank you!) And our director who also produced the film with me Nick Lyon is a dear friend & colleague & he just sort of nudged me in the right direction whenever I was lost, couldn’t have done it without him. So I just thought to myself I’m just going to chip away at it every day, one foot in front of the next everyday, and at some point it’s going to be done. And done it was.
How was the film received at film festivals? Please tell us about your festival run. Additionally, what role do you think festivals can play in helping independent films?
So far we’ve been the ‘Official Selection’ at 9 festivals & ‘Winner’ at another 9. I think it’s wonderful to be recognized. I think festivals have a huge role in helping independent films, how else are we going to be seen? We don’t have the money or power to compete with studio films so really the only way we are going to connect with audiences & film lovers are film festivals. It really helped us maintain visibility & selling it.
What are you currently working on? What will be your next project(s)?
I have a few passion projects that I’m pursuing. Not sure if I’ll produce again right away. Personally I’d love to, but it’s hard with a toddler. I think as actors we don’t recognize how time consuming producing really is. As an actor you can do 3-4 films a year. As a producer it really takes up a minimum of 2 years of your life. It’s very rewarding no doubt. I think I may enjoy just acting for a little while before I jump back into producing again. But hey, if I come across something I really, really love… You just never know.
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