With the 50th anniversary of Jaws splashing into cinemas this August, Forbidden Worlds Festival is diving into an ocean of aquatic nightmares and cult classics with its “Forbidden Worlds of the Deep” season.
Alongside rarely seen deep-sea terrors like The Whale God and Below, this year’s festival also honours a living icon of sci-fi and horror: producer Gale Anne Hurd. From starting her career under the legendary Roger Corman to shepherding genre-defining blockbusters and TV hits like The Walking Dead, Hurd’s influence runs deep.
We sat down with the newly crowned Forbidden Worlds Legend to reflect on a career that changed the cinematic landscape forever…
How did you get your start as a producer?
It was actually through Stanford University, where I studied. One of my professors had gone to work for Roger Corman and Roger wanted to hire the student with the highest GPA in the communications department—that was me. I was hired as an assistant, but I also had a degree in economics and realised I didn’t want to become an economist.
While on a Stanford programme in the UK, at Cliveden House of all places, I decided to pursue film seriously. When I got the letter from Roger (this was before email!), asking if I’d come to L.A. for an interview, I said yes. At that first meeting, Roger asked me what I wanted to do. I hadn’t really thought about it, but said, “Producer.” I figured my background in business and my love of film made that a natural fit.
One of your first major projects was The Terminator. Did you have any idea how big it would become?
None. We made a film that we would want to watch. That was it. Our goal was simple: make something good enough that we’d get the chance to make a second film. What happened next far exceeded anything we imagined.
You also share a writing credit on The Terminator—what was that collaboration like?
Jim [Cameron] wrote the first drafts, but we’d have long discussions about scenes. I gave notes, suggestions, and some of those were incorporated. It was a very collaborative process, typical of how a creatively involved producer works with a director.
You followed The Terminator with Aliens. What was the toughest part of that production?
The running time. The contract required a specific length and our cut was longer. So we had to trim it down. The version screening in Bristol is the Director’s Cut—what we originally envisioned. Figuring out what to lose was incredibly tough.
Both films have strong female leads. Was that something you were consciously drawn to?
Since I collaborated on both, it was less about being drawn to them and more about wanting to tell compelling stories. With Sarah Connor, we thought: who’s the least likely person to be responsible for humanity’s survival? A young waitress. With Aliens, Ripley was already established—but she was clearly the protagonist.
You’ve worked with some huge directors. What do you look for in a collaborator?
Vision. A director needs a clear idea of the film they want to make, and it has to align with mine. If we’re making two different movies, that’s a problem. I gravitate toward filmmakers who put character first—where the plot evolves from the decisions those characters make.
Forbidden Worlds is screening Tremors. Why do you think it’s endured?
Honestly, it wasn’t easy to get made. It was thanks to a passionate executive at Universal, Jim Jacks. When we did the test screening, people were told they’d be seeing a scary horror film, so they didn’t realise it was a comedy too—and it bombed with audiences. Lowest scores of my career! But it exploded on home video and TV.
It’s a fun film. The characters are great. The community dynamics work. People love quoting it. And remember—this was before CGI. The Graboids were all practical effects, created by Alec Gillis and Tom Woodruff in their first film after leaving Stan Winston Studios.
There have been rumblings of a Tremors TV show. Are you involved?
I’m not. I have no idea what’s happening with that.
Another festival screening is Battle Beyond The Stars. How does it feel seeing that one return to the big screen?
It’s going to be surreal. I haven’t seen it projected since it first came out. I’ve watched it for commentary tracks, but never with an audience. It’s not a great movie, but it’s a great time at the movies. The script’s by John Sayles, music by James Horner, and the effects team included Jim Cameron—what a combo!
You’re being honoured as this year’s Forbidden Worlds Legend. How does that feel?
Well… it makes me feel old! But better old than dead. I’m glad the films I’ve worked on still resonate with audiences. It’s disappointing The Abyss can’t be shown though—UK censors never passed it, due to a scene involving a rat breathing oxygenated fluid. The rat was fine! In fact, the rat became a pet afterward for Todd Graff. But Jim [Cameron] refused to make the cuts they demanded, so it’s still banned here.
You’ve long championed genre filmmaking. What keeps drawing you to it?
I’ve loved genre since I was a kid. I started reading at four—comic books first, then sci-fi and horror. I’d read four books a week, sometimes one a day. I’d sneak a flashlight under the covers at night. On weekends, I’d go to the local cinema for double bills. I grew up on Ray Harryhausen, Voyage to the Bottom of the Sea, all of it. It’s always been my passion.
After so many years in the industry, what still surprises—or worries—you?
The erosion of creative control. Fewer people get final cut these days. When a director and I pour our lives into a vision, only to have it altered by a studio or streamer—it’s heartbreaking. Yes, it’s a business. But it’s also an art form, and that needs to be protected.
Forbidden Worlds of the Deep runs from 28th May – 1st June 2025 in Bristol, celebrating the 50th anniversary of Jaws and featuring a deep dive into the best aquatic horrors, cult sci-fi, and rare cinematic treasures. For full details, visit forbiddenworldsfilmfestival.co.uk.
