Actor Jack Haven has offered a nuanced perspective on their latest role as the slasher character "Little Death" in Jane Schoenbrun’s new feature film, Teenage Sex and Death at Camp Miasma. Despite the character’s violent nature, Haven found an unexpected "innocence" within the killer, challenging conventional interpretations of the horror genre’s antagonists. This portrayal is poised to be a significant talking point following the film’s high-profile premiere.
Haven, 31, elaborated on their approach, explaining that Little Death’s actions are driven not by malice but by a peculiar blend of "inevitability and curiosity." This recontextualization moves beyond the typical motivations of a slasher villain, suggesting a character who operates outside traditional moral frameworks. The film itself is a meta-horror narrative, focusing on a young filmmaker, played by Hannah Einbinder, tasked with rebooting a slasher franchise. In the fictional world of the film, Haven’s Little Death terrorizes and murders teen campers, with Gillian Anderson taking on the role of the ultimate "final girl."
Crafting a Unique Antagonist
Haven described the character of Little Death as someone who "doesn’t quite know how human things work, but is interested in playing with them." This perspective imbues the slasher with a childlike quality, despite the gruesome acts. The actor emphasized an "innocence and a total inability to control the people around them in a manipulative way," highlighting a distinct lack of social cunning. Instead, Haven noted, Little Death possesses a "deep centered power" that is entirely detached from social dynamics or manipulation, focusing solely on the immediate, visceral experience of its actions. This interpretation seeks to redefine the psychological depth of a slasher, moving away from purely evil archetypes towards something more enigmatic and primal.
The character’s unique design, featuring a helmet and a slobbering tongue, was an immediate draw for Haven. When director Jane Schoenbrun described Little Death, Haven was "totally in," expressing an eagerness to collaborate on any project Schoenbrun envisioned. This enthusiastic response underscores the profound artistic connection between the actor and director.
The Power of Collaboration: Haven and Schoenbrun
The collaboration between Jack Haven and Jane Schoenbrun extends beyond Teenage Sex and Death at Camp Miasma. The two previously worked together on Schoenbrun’s critically acclaimed feature, I Saw the TV Glow, establishing a strong creative partnership. Haven speaks of their bond with Schoenbrun in almost spiritual terms, describing it as "one of those rare and sacred collaborations that I just feel it’s intergalactic when I get to work with them."
This deep professional respect translates into a profound sense of creative liberation for Haven. "I feel a great freedom when I’m with Jane," the actor stated, attributing this to Schoenbrun’s "unlimited imagination" and ability to "travel through dimensions." This synergy is crucial for developing characters like Little Death, which demand an imaginative and unconventional approach. Haven’s commitment to Schoenbrun’s vision is absolute, humorously adding, "I pack myself and I’m ready at the door" whenever an opportunity arises to work together. This unwavering dedication speaks volumes about the unique artistic environment Schoenbrun cultivates.
Jack Haven’s Diverse Career Path
Before embodying the distinctive Little Death, Jack Haven built a career marked by versatility across film and television. They gained significant recognition for their role in the Netflix series Atypical, a coming-of-age drama that explored themes of autism and family dynamics. Haven also appeared in films such as Bill and Ted Face the Music, demonstrating a range that spans from heartfelt dramedy to lighthearted science fiction. This varied background has prepared Haven for the complex demands of characters that defy easy categorization, such as the slasher in Teenage Sex and Death at Camp Miasma.
In recent years, Haven has also ventured into filmmaking, expanding their creative footprint behind the camera. This transition reflects a broader artistic curiosity and a desire to explore storytelling from multiple perspectives. This experience as a filmmaker likely informs their nuanced approach to acting, offering a deeper understanding of narrative and character construction.
Navigating Cannes and the Illusion of Celebrity
Teenage Sex and Death at Camp Miasma premiered at the prestigious Cannes Film Festival, a pinnacle event in the global cinema calendar. For Haven, however, the experience was a complex mix of personal challenge and collective triumph. The actor candidly admitted, "I wish I was mentally stable enough to enjoy something like Cannes, but unfortunately I’m not." Haven described the intense atmosphere as triggering an "invasive species mode" akin to "The Beach" where Leonardo DiCaprio’s character experiences extreme paranoia.
This raw honesty offers a rare glimpse into the psychological toll that high-stakes industry events can exact on individuals. Haven pinpointed the confluence of "capitalism and film making out" as a source of this unease, suggesting a discomfort with the commercial pressures and performative aspects of such festivals. Despite the personal struggle, Haven found immense joy in witnessing the celebration of the cast and crew’s hard work, describing it as "magnificent." A particularly special aspect was sharing the experience with their mother, a longtime artist, allowing Haven to see the festival "through her eyes."
Challenging Celebrity Culture and Finding Authenticity
Haven elaborated on their process of managing the mental challenges associated with events like Cannes, describing it as an effort to "transcend" ego-driven anxieties. They articulated a belief that at the core of human interaction is "pure love," and that the prevalent "celebrity culture is done." Haven finds it "hilarious that we’re still dealing with these dynamics because we know they’re not real." This perspective critiques the artificiality often associated with fame and public personas, advocating for a more authentic engagement with reality.
The actor views cinema, especially a film like Camp Miasma, as offering a temporary escape into an "imaginary dimension," providing a state of "bliss" for audiences. This escapism, Haven suggests, is what people "like to pay for," drawn to "things that glitter like the imaginary, like magic." Haven acknowledged that this "is the way our world is built right now," but also speculated that it "won’t always be built like this." These reflections underscore a philosophical stance that attempts to reconcile the demands of the entertainment industry with a personal quest for genuine connection and meaning, navigating the "mental gymnastics" required to maintain perspective.
Jack Haven’s Foray into Directing
Beyond their compelling acting roles, Jack Haven has actively transitioned into filmmaking, completing two feature films as a director. The journey began with an intensely personal project: their first feature was shot entirely on an iPhone, driven by the urgency of a close friend’s battle with liver cancer. The film’s star was the friend, Peter, who was 73 at the time. The goal was to complete the film rapidly, capturing Peter’s story before his condition deteriorated. Miraculously, Peter received a liver transplant midway through production and survived, allowing the film to be completed with him. This deeply personal origin story highlights Haven’s commitment to capturing authentic human experiences through the lens of independent cinema.
For their second directorial effort, Haven received funding from a friend, Clyde, enabling the purchase of a more advanced camera. This film was scripted, a departure from the improvisational nature of the first, and featured a more structured production. The challenging post-production process, particularly editing, was described as "hell," a common sentiment among independent filmmakers. The score for this film was composed by Haven’s best friend, Mina Walker, further emphasizing the collaborative and intimate nature of these projects. Currently, Haven is immersed in writing a third feature, a comedy, slated for production in August and September, signaling a continuous evolution in their creative pursuits.
The Most Physically Demanding Scene: Little Death’s Killing Spree
One of the most talked-about sequences in Teenage Sex and Death at Camp Miasma is a single-shot killing spree performed by Haven’s Little Death. Director Jane Schoenbrun has expressed immense pride in this scene, calling it one of the most significant achievements of their career. For Haven, it represented the "hardest thing I’ve had to do as an actor, just in terms of physical intensity."
The scene required extraordinary coordination and stamina. Schoenbrun had meticulously pre-visualized the sequence with an iPhone edit, providing a precise blueprint for Haven’s movements. The technical challenge was compounded by a heavy camera rig strapped to Haven, which felt "at least as heavy as me," described as feeling like a "shadow self." This elaborate setup involved a camera assistant, Emma, holding the camera, and sandbags for counterbalance, but the sheer weight and awkwardness remained formidable.
Stunt choreographer Maja Aro designed a specific, intricate movement pattern that Haven practiced extensively. The scene also involved dedicated stunt performers who threw themselves against walls and fell in rhythm with the choreographed "stabs." Haven recalled performing the sequence approximately eight times. Even on the final take, despite the exhaustion, Haven "screamed afterwards because I forgot something," a testament to the scene’s grueling nature and the high stakes involved. The successful capture of the shot, despite the immense physical demands, was a triumph for the entire team.
The Wonder of Cinematic Vision
Witnessing the finished killing spree scene, and indeed the entire film, left Haven "totally blown away." This reaction extends to all of Jane Schoenbrun’s work, which Haven describes as inherently unique. Even Schoenbrun’s initial descriptions of ideas evoke a profound sense of "wonder," likened to "your grandmother telling you a story as a child." This sentiment encapsulates the magical, almost mythic quality that Haven perceives in Schoenbrun’s storytelling, a quality that resonates deeply with the actor’s own artistic sensibilities.
Jack Haven’s portrayal of Little Death in Teenage Sex and Death at Camp Miasma stands as a testament to their versatile talent and willingness to delve into complex, unconventional characters. Coupled with their burgeoning career as a filmmaker and their candid reflections on the industry, Haven embodies a new generation of artists who are as thoughtful about their craft as they are about the broader cultural landscape they inhabit. Their collaboration with Jane Schoenbrun continues to push boundaries, promising more distinctive and thought-provoking cinematic experiences.
