John Carpenter Unveils ‘Cathedral’: A Multimedia Horror Epic Born from a Dream

AUSTIN, TX – JUNE 23: Composer/director John Carpenter performs onstage during ‘John Carpenter: Live Retrospective’ at ACL Live on June 23, 2016 in Austin, Texas. (Photo by Rick Kern/WireImage,)

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For John Carpenter, storytelling remains the cornerstone of his craft, even in an era where spectacle often overshadows narrative. The son of a music teacher, Carpenter has long scored his own films, composing iconic, minimalist themes such as the relentless piano melody that defines Halloween.

Over the past decade, Carpenter has expanded his musical repertoire alongside his son, Cody Carpenter, and godson, Daniel Davies—son of Kinks guitarist Dave Davies—releasing four Lost Themes albums that showcase the trio’s lush, cinematic soundscapes.

His latest endeavor, Cathedral, unifies these pursuits. Sparked by a vivid dream in 2014, the project began as the group’s first metal album, with each of its 14 instrumental tracks mapping a chapter of the narrative. That musical blueprint evolved into Carpenter’s debut full-length graphic novel, co-written by his wife, Storm King Comics founder Sandy King, and managing editor Sean Sobczak. The horror story unfolds within an evil, abandoned church in downtown Los Angeles, marking a rare instance where the score preceded the script, creating an immersive world across multiple mediums.

In a recent video interview, Carpenter discussed the interplay of music, imagery, and prose that drives Cathedral, as well as the enduring relevance of films like They Live. The following transcript has been edited for length and clarity.

Jim Ryan: Cathedral is your first full-length graphic novel. Did the medium allow you greater creative control compared to film?

John Carpenter: Absolutely. My wife, Sandy, serves as editor and publisher, and she is far more forgiving than any studio.

Ryan: The music came first, which is unusual. How did the score shape the writing and artwork?

Carpenter: I had a sprawling narrative dream in 2014—unusual for me, as my dreams are typically anxiety-ridden. This one had a complete story arc. I later realized it drew from Greek mythology and other sources. I shared the outline with Cody and Daniel, and we built the album chapter by chapter. Sandy and Sean then adapted that musical framework into the graphic novel. It all originated from that dream.

Ryan: It feels like storytelling often takes a backseat today, whether in film or music. Yet Cathedral places narrative front and center. How vital is storytelling to you?

Carpenter: For any narrative project—a graphic novel, film, or book—the story is everything. It is king. Music operates differently; it transcends words, soaring beyond literal narrative. That is its power.

Ryan: Who are your storytelling influences?

Carpenter: I grew up on cinema: Hitchcock, Howard Hawks, John Ford. In literature, Ray Bradbury was a favorite. There are too many to count.

Ryan: That dream was remarkably cinematic. How does the unconscious inform Cathedral?

Carpenter: It emerges from the unconscious—whatever is brewing there. I have a genetic impulse for storytelling, and for one night, it coalesced into a complete tale.

Ryan: This project is built on deep trust—your wife, son, and godson. How did that dynamic shape the work?

Carpenter: I don’t wish to disparage studios, but they can be difficult. I enter every project assuming everyone brings their best. I trust until given reason not to. Here, that trust is inherent; it’s a family enterprise.

Ryan: The album drives the narrative, creating an immersive experience without a screen. Soundtracks feel like a lost art. How do music and image combine to elevate storytelling?

Carpenter: It is the pinnacle of cinema. Classic films marry music and image alongside editing and acting. Movies are complex, expensive endeavors. Music is simpler, less costly—different worlds entirely.

Ryan: You’ve said, “Everything I know about evil I learned in that small town of Bowling Green, Kentucky.” How did growing up in the Jim Crow South shape your worldview and art?

Carpenter: I came of age in the 1950s South. It was brutal. I’m uncertain how much has truly changed, despite what some may claim.

Ryan: You’ve never shied from political commentary, yet that seems rarer now. How important is it for art to engage with the world?

Carpenter: I don’t know if it’s “important” in the grand scheme. Movies matter to me, but their broader significance? That’s a question I can’t answer.

Ryan: I rewatched They Live recently; it feels more relevant now than in 1988. What is it like seeing a film resonate across decades?

Carpenter: It’s gratifying as a filmmaker, though the reality behind it is grim. They Live is a documentary of the 1980s, and the 80s never left—they’re still bubbling beneath the surface.

Ryan: The graphic novel is a unique narrative form. You gave your collaborators space to interpret your dream. How crucial was that collaborative spirit?

Carpenter: I don’t interfere with their process, and they don’t interfere with mine. My motto: let’s all flourish together.

Ryan: Delivering a complete story through both a graphic novel and an album was a first for you. What was that like?

Carpenter: I entrusted others to flesh out my dream, and the result is incredible. I’m immensely proud. It’s a fun, immersive way to tell a story and make music simultaneously. I’ve always scored my films; now I’ve scored my stories. This is how it’s done.

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