Terrifier 3 Star Krsy Fox on Modern Horror Fandom, Practical Effects, and Her Ultra-Bloody Meta Slasher Big Baby
Reuniting with her husband and filmmaking partner Spider One, the actress, editor, and producer breaks down her gory meta horror film from executive producers Cher and Chaz Bono
by Ellie Addis 4 August 2026
Brainstorm Media
When Adam (Brandon Scott), a horror screenwriter, starts having visceral dreams of a serial killer in a grotesque baby mask, he decides to transform his nightmares into a screenplay. But his reality soon begins to crack as he realises the villain’s rampage may be more than just fiction.
This conceit lays the groundwork for Big Baby, the latest feature from OneFox Productions, founded by husband and wife duo Spider One (member of rock band Powerman 5000 and brother to fellow musician/filmmaker Rob Zombie) and Krsy Fox, best known for her memorable role in the opening sequence of Terrifier 3.
In addition to editing and producing the feature, Fox stars as Kate, Adam’s supportive girlfriend who encourages him to dive deeper into his dreams for inspiration, before their relationship starts to fracture along with his grip on reality. Calling Phantasmag over Zoom, the multi-hyphenate discusses her lifelong obsession with the horror genre, making films as a family, and why time spent on set felt like a “horror nerd’s dream.”
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Phantasmag: The concept of Big Baby began as a film-within-a-film in your 2022 film Allegoria before becoming its own feature. What was it about this idea that made you and Spider One realise there was a much bigger story waiting to be told?
Krsy Fox: It was honestly the fanbase. We put [Allegoria] out, and everybody was saying, ‘We want a Big Baby movie!’ When we shot the movie-within-a-movie, it was ridiculous. We wanted it to look D-level. We just went out in the woods with a camera: our son held a light, I had a supersoaker full of blood, and we did this ridiculous thing. Then we're like, ‘People want this as a movie? Okay!’
But it had to still feel like one of our films, like something that Spider would write. He's not a straight-ahead slasher guy. He loves slashers, of course, but there's always kind of a different approach to his films. Once he dove in and made it really about this writer and his constant need to control his life, it was such a great way to tell the story.
The thing I love about the movie is, if you took out Big Baby and all the gore, you'd still have a great story. But it's so much more fun when you get to watch people get chopped up by Big Baby, you know?
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P: You edited Big Baby as well as starring in and producing it. How did being involved in the editing process shape the way you saw the story and your character?
KF: It was fun because I had a lot of room to be creative, especially when we were getting into the kills and the characters that Adam was writing. I thought, I can make this feel a little different or look a little different. I can add script pages into the video.
Spider went on tour with his band when we wrapped, and I had that month to just get my edit together and play with it. The easiest stuff to do was the conversational scenes between myself and Brandon, because it was very straightforward until the movie started progressing. Then there are moments where Adam sees something terrible, and the shot choices become really different… As he started going more mad, so could the edit and the way we tell the story.
Getting the first pass, then going through it, we actually ended up doing a day of pickups to get more gore in there, which is some of the most fun stuff to do. Working with special effects — thinking, Cool, more blood, let's chop off more limbs! — that was awesome.
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P: Can you walk me through the practical effects on this movie? What was the most technically challenging scene?
KF: The biggest one was the pool sequence, because we had so many body parts to work with. We wanted that to be the big one. But there was a tricky element to the scene with Graham (Chaz Bono), the guy who has the cats. That sequence was a little tricky too because, without giving too much away, it involves crucifixes and heads. That day our daughter was visiting on set, and she split her head open, which was especially stressful because we're in the middle of the shoot. She’s fine, but she had to go to the hospital. And Big Baby drove us there, which was really weird.
As for our special effects team, Little Shop of Gore, they did such a great job. The practicality of what we were able to do with Catherine Corcoran's character in the pool scene — how every single piece of her body functioned and would bleed if you cut it — was a horror nerd's dream. I loved every minute of it.
P: A lot of fans will know you from the memorable opening scene of Terrifier 3, as well as several other horror projects. What was your relationship like to the genre growing up, and what keeps attracting you to horror?
KF: I mean, I'm a horror fanatic. I'm not exaggerating. I watch a horror movie every single night before bed. It's how I relax. I’m calling Spider like, ‘Hey, when I get home, [let’s watch this].’
It’s ever since I was a young kid. I remember my earliest memory was when I was three years old. I was in a hotel with my mom and her boyfriend, and they had twin beds. I had to sleep on the floor between them, and The Fly was on. I cried all night. I was like, ‘He’s under the bed!’ It was traumatising, and I still remember it. I don’t have a lot of memories from being three. I remember that.
A few years later, I somehow ended up watching The Texas Chainsaw Massacre by myself. I don't remember how I got into that situation, but I remember watching it and being completely captivated and horrified and traumatised and it ended and I was like, ‘I want to watch that again.’ Then I saw Scream when I was a kid in the theater. It was amazing. I'm obsessed.
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P: You and Spider One founded OneFox Productions together, and this is another project you’ve brought to life as a team. What have you learned about each other through working side by side on projects like this?
KF: You know, you really learn to trust each other. It's a safe space. Some partners can't work together. It really damages their relationship, but we've had the opposite experience, where I feel like it connects us even closer.
There's something about being put in a vulnerable position, certainly as an actor in horror films, and having your partner on the other side of the camera at the monitor. You know no matter what, you're safe. You can really respect and trust what they're telling you. I know if he tells me we have it, we do. I don't have to worry about that side of it. I just have to worry about everything else I'm there to do and be prepared. It's been a magical experience.
We have a daughter together who's now six and absolutely into horror movies. She's been on sets since she was five months old. So it's become a family affair. My stepson, Spider's son from his previous marriage, was in Big Baby. He was the guy at the coffee shop. It's fun to make it a family thing.
P: Kate encourages Adam to trust his creative instincts, but she’s also the person who witnesses what happens when that idea starts to take over. What drew you to her character?
KF: As a female actress, a lot of times you get the girlfriend character, or the wife. She’s just there. Some guy has to come save her, and that’s the end of it. There’s no depth. The thing I liked about Kate was that she was the heart of the movie.
I’d done a lot of roles before that in recent years where I’ve had to think, Oh, I’m crazy, I’m abused, I’m this, I’m that. But this was a different thing. She’s a together person. She’s the heart. She kind of grounds her boyfriend, but also, she’s flawed and makes mistakes too. As much as he, for a minute, becomes the villain in the film, so does she. She doesn’t listen to him and doesn’t believe him, and there are a lot of lessons there.
I liked that there was so much depth, and I liked that it started out by showing her supportiveness and their love together. And when we get to the finale, I think people are surprised by how emotional this film gets. So it was an exciting role to jump into, and it’s very interesting to edit yourself. You get very sick of your own face. Let me tell you that.
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P: Adam is a writer trying to control something that eventually takes on a life of its own. As a filmmaker, do you think there’s a point where you have to let go of control and allow a story to become something beyond your original idea?
KF: I think so. Once you start bringing in other people, actors can take things in different directions than maybe you expected. The thing that's nice about Spider, and I'm certainly the same way, is that if you hire great actors, and that's always our number one thing, then you trust them and let them be part of that journey. They’re going to bring a fantastic performance. So I think that can change the film. and you have to allow for that to happen. Honestly, it tends to make things better.
But also, once it's out in the world, you can't control what people are going to think. You just have to know that you made the film you wanted to make. We're so lucky with our films — we get final cut. It's the film we wanted to put out in the world. If we're happy with it, that has to be enough, you know what I mean? You can't please every single person.
I feel like horror fans are always loyal to horror films. They may have thoughts and opinions, but generally they're just like I am: just grateful there's a new horror film to watch when they get home from work that they can talk about with the horror community. I think we're just lucky that we're part of that genre.
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P: On that topic, the film explores the pressure of putting something personal into the world and seeing how people respond to it. With online criticism and commentary being so immediate today, how do you think that has changed the experience for artists and how do you personally handle those reactions?
KF: We talk about it a little in the movie where he says, ‘When I was young I loved everything, and now…’ We've been talking about this a lot since people started screening the film. I feel the reviewers, podcasters, and fans genuinely, even if they didn't love every single thing about the movie, they're very thoughtful about their criticisms. They watched the movie and took something away from it.
And it’s so hard to make a film. I don't love every movie I see, but I appreciate the work. I love that someone made it, I'm glad it exists, and I would never talk badly about someone's project because it's one in a hundred million to actually complete a film.
So really, the podcasters in Big Baby, they're kind of like this small percentage, the 1% that just… you don’t even like movies! Why are you spending all your time critiquing movies? You can look at some of their other reviews and see ‘Steven Spielberg, one star,’ and you're thinking, Come on, that's ridiculous. If you don't even really like movies, you shouldn't talk about them.
But generally, in a normal sense and certainly being part of the horror community, people are very thoughtful about their feelings and their critiques. That doesn't bother me. I read some of them, but I just appreciate the people who take the time to watch a movie. Because it's a hard job to do, and it’s hard to put yourself out there like we do.
Big Baby arrives on digital and VOD platforms this Friday, August 7th. The film will have its UK premiere at Tubi FrightFest London.