{"id":4707,"date":"2026-08-01T04:36:19","date_gmt":"2026-08-01T04:36:19","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=4707"},"modified":"2026-08-01T04:36:19","modified_gmt":"2026-08-01T04:36:19","slug":"how-jack-haven-found-innocence-in-teenage-sex-and-death-at-camp-miasma-slasher-little-death","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=4707","title":{"rendered":"How Jack Haven Found \u201cInnocence\u201d in \u2018Teenage Sex and Death at Camp Miasma\u2019 Slasher Little Death"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tIt might seem a bit jarring to hear that an actor \u201ctook a sweetness\u201d from a character called Little Death, but Teenage Sex and Death at Camp Miasma<\/em>\u2019s Jack Haven found an innocence to the slasher in Jane Schoenbrun\u2019s latest feature.<\/p>\n

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\n\t\u201cIt\u2019s someone who isn\u2019t killing because of a wicked and cruel instinct, but sort of just because of inevitability and curiosity,\u201d the 31-year-old tells The Hollywood Reporter<\/em>. In Teenage Sex and Death at Camp Misasma<\/em>, a young filmmaker, played by Hannah Einbinder, is preparing to reboot a slasher franchise, Camp Miasma, which found Haven\u2019s Little Death terrorizing and killing teen campers. Add the ultimate final girl, played by Gillian Anderson, and it\u2019s an unbeatable formula.<\/p>\n

\n\t\u201cI like a character that just doesn\u2019t quite know how human things work, but is interested in playing with them,\u201d Haven explains. \u201c[There\u2019s] an innocence and a total inability to control the people around them in a manipulative way. This character has a deep power that\u2019s a deep centered power, but has no interest in the social dynamics.\u201d<\/p>\n

\n\tThe actor gained recognition for their role in Netflix\u2019s Atypical<\/em>, along with roles in films like Bill and Ted Face the Music<\/em>. They\u2019ve also waded into the filmmaking waters in recent years. In Camp Miasma<\/em>, Haven reunites with Schoenbrun after the pair worked together on the director\u2019s acclaimed feature I Saw the TV Glow.<\/em><\/p>\n

\n\t\u201cJane is one of those rare and sacred collaborations that I just feel it\u2019s intergalactic when I get to work with them,\u201d Haven says. <\/p>\n

\n\t\u201cI feel a great freedom when I\u2019m with Jane,\u201d they continue. \u201cWhen I\u2019m talking to Jane about creating something because they have a really unlimited imagination and they can travel through dimensions.\u201d<\/p>\n

\n\tThe actor says they\u2019ll always work with Schoenbrun when the opportunity\u2019s presented. Adds Haven, \u201cI pack myself and I\u2019m ready at the door.\u201d<\/p>\n

\n\tBelow, Haven digs into the film premiering at Cannes, working as a filmmaker and the Camp Miasma<\/em> sequence that the actor found to be their most physically challenging scene ever. <\/p>\n

\nWhat drew you into the movie?<\/strong><\/p>\n

\n\tI would\u2019ve said yes to anything that Jane asked me to do, but they described the character as the slasher killer in a helmet with a slobbering tongue, and I was totally in.<\/p>\n

\nWhat was the Cannes experience like?<\/strong><\/p>\n

\n\tI wish I was mentally stable enough to enjoy something like Cannes, but unfortunately I\u2019m not. The best part was that I knew it was a good thing in my mind. Probably in my body, I knew it was a good thing. My mind turned invasive species mode and was running through the rainforest, trying not to get caught. It\u2019s like, you know that scene in The Beach<\/em> when Leonardo DiCaprio goes into video game mode and he\u2019s being chased? It\u2019s like that level of paranoia for some reason is elicited by environments in which capitalism and film are making out. I just, something about it, I run. But seeing everyone\u2019s hard work, this beautiful group of people with the purest souls on earth being celebrated in this way was just magnificent. Also, my mom came, and it was really special to be there with her because she\u2019s a longtime artist. It was just amazing to see it through her eyes.<\/p>\n

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\nHow do you work through getting over that in your own head?<\/strong>\n<\/p>\n

\n\tI\u2019ve just been working on transcending it. It\u2019s totally an ego thing because it\u2019s like, first of all, no one really gives a shit about anyone else. At the core of every interaction is pure love, and we know that celebrity culture is done. I think it\u2019s hilarious that we\u2019re still dealing with these dynamics because we know they\u2019re not real.<\/p>\n

\n\tSeeing a movie like Camp Miasma<\/em> at Cannes, people just enter this state of bliss because they are in the imaginary dimension, even if just for a moment. For some reason, that\u2019s what we like to pay for. We like to pay for things that glitter like the imaginary, like magic. This is the way our world is built right now, it won\u2019t always be built like this and it hasn\u2019t always been built like this, but that\u2019s the mental gymnastics I have to do, which honestly should be quite easy because as I said, it\u2019s all love.<\/p>\n

\nYou recently did your first feature as a director, right? Can you tell me a bit about what that process of transitioning to filmmaking has been like?<\/strong><\/p>\n

\n\tYes, I have two features actually, but only one is available to see. The first one I made on my iPhone, and it was really because one of my close friends, Peter, he\u2019s 73 and he had liver cancer, so he was dying. He\u2019s the star of the film, so I wanted to make it as quickly as possible. He got the liver transplant halfway through and he survived, and so we finished the film with him. The second film, my good friend Clyde gave me money to buy a better camera. I wrote a script for that one. The first one was improvised, and that one was more produced. Then editing it is obviously hell. My best friend Mina Walker scored the movie. We\u2019ve just finished that one. Now, I\u2019m writing the third one. We\u2019re going to shoot in August and September, [and it\u2019s] is a comedy.<\/p>\n

\nI believe Jane said in the director\u2019s notes that the one shot killing spree scene was the most proud they\u2019ve been about anything they\u2019d made. I\u2019d really love to hear about that scene in particular.<\/strong><\/p>\n

\n\tJane had a shot by shot with them as Little Death. It [was] made at the camp before we started shooting. It was just an iPhone edit, which I hope gets released someday. But I can\u2019t take really any credit for it. I know what my body is doing, and it\u2019s like 3 a.m., and I do what I must do. The hardest part was probably the camera that was strapped to me.<\/p>\n

\nWhat was that like? I read it was very heavy.<\/strong><\/p>\n

\n\tI don\u2019t even know how heavy it was, but it felt like it was as heavy at least as me. It felt like the shadow self, honestly. It was balancing that. But the camera assistant, Emma, was holding the camera, and then there were sandbags on the back so it was counterbalanced, but it\u2019s still\u2026 The fight choreographer, stunt choreographer, Maja Aro, had this really particular movement that we practiced so much, so I knew what I was doing.<\/p>\n

\n\tThe pieces were all there, but it\u2019s still probably the hardest thing I\u2019ve had to do as an actor, just in terms of physical intensity. The stunt people in the background, they were doing such hard work because they were throwing themselves against the wall and then falling to the rhythm of the stabs. We did it maybe eight times, and still on the last take, I screamed afterwards because I forgot something. But I guess we got it.<\/p>\n

\nWhat did you feel like seeing the scene?<\/strong>\n<\/p>\n

\n\tTotally blown away. As with the whole film, as with all of Jane\u2019s work. Even when Jane describes something or describes an idea for a film, that\u2019s unlike anything. It really feels like a feeling of your grandmother telling you a story as a child, it\u2019s that wonder.<\/p>\n

Read more John Oliver Talks New \u201cProspective Business Daddies\u201d and Colbert Support Group and Reveals HBO Contract Extension (Exclusive)<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Jack Haven digs into finding their character Little Death in the new film \u2018Teenage Sex and Death at Camp Miasma.\u2019<\/p>\n","protected":false},"author":1,"featured_media":4706,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[3102,856,3140,3103,1046],"class_list":["post-4707","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-gillian-anderson","tag-hannah-einbinder","tag-jack-haven","tag-jane-schoenbrun","tag-teenage-sex-and-death-at-camp-miasma"],"yoast_head":"\nHow Jack Haven Found \u201cInnocence\u201d in \u2018Teenage Sex and Death at Camp Miasma\u2019 Slasher Little Death - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=4707\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Jack Haven Found \u201cInnocence\u201d in \u2018Teenage Sex and Death at Camp Miasma\u2019 Slasher Little Death - 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