The horror community has been clamoring for a new film in the Friday the 13th franchise for nearly two decades, and while we may have to wait a bit longer for the feature-length return of Jason Voorhees, fans can rejoice as horror auteur Mike P. Nelson (Wrong Turn; Silent Night, Deadly Night) has delivered a nostalgic horror short set in the Jason Voorhees universe. It’s called Sweet Revenge, and it’s a bloody good time, due in large part to the tense score from composers Michelangelo Rodriguez and Matthew Compton.
Rodriguez sat down with HorrorBuzz to tell us more about this triumphant return to the world of Friday the 13th, and what he learned about storytelling through music with this tense and gory horror short.
Alix Kingray: Hi Michelangelo! Can you tell me more about your horror short Sweet Revenge and what it was like to work with acclaimed horror director Mike P. Nelson?
Michelangelo Rodriguez: Sweet Revenge is the latest installment in the Friday the 13th franchise and serves as the centerpiece of the series’ 45th-anniversary campaign. Working on the project was a deeply collaborative experience. We would bounce ideas around, experiment with textures, and then Mike, Co-Composer Matthew Compton, and I would dive into refining them, pushing the score further while staying true to the franchise’s iconic feel. There was a moment when everything just clicked—the atmosphere, pacing, and motifs all came together perfectly. Working with Mike, whose vision is both bold and precise, was incredibly inspiring and taught me so much about storytelling through music.
AK: Considering the film’s roots in the Jason Voorhees universe, how did you take inspiration from the existing franchise films while still blazing your own path with this score?
MR: Since Sweet Revenge is the first official Friday the 13th film since 2009, Matthew and I knew we had to honor Harry Manfredini’s legendary scores while creating something fresh. I drew inspiration from the spirit and tone of the first four films, particularly their suspenseful orchestration, while blending in modern sounds. We experimented with unconventional cello scratches, synthesizers, and orchestral textures, merging retro elements with contemporary ones. The franchise has such a dedicated fan base, so it was super fun to give a little fan service and sneak in some Easter eggs in the score for fans to discover.
AK: What was your relationship like with the Friday the 13th films prior to working on Sweet Revenge?
MR: I wanted to give the feel of how I felt when I first saw Friday the 13th. As a kid, I loved watching the Syfy channel with my mom. She’s a big horror fan and also the one who introduced me to the world of horror movies. I remember one day after school seeing a guy on TV wearing a hockey mask, running around chasing people, and it instantly caught my attention, and it was then that I found out who Jason Voorhees was. As I got older, I “formally” watched the movies and was hooked, and many years later I found myself scoring a film with that same hockey masked character running around chasing people. It’s a pretty cool full circle moment for me.
AK: Did you take inspiration from any other iconic horror franchises while scoring Sweet Revenge?
MR: In addition to the Friday the 13th world, I immersed myself in other horror scores to broaden my creative palette. Listening to composers like Ben Wallfisch, Mark Korven, and the Newton Brothers helped me explore unconventional textures, tension, and atmosphere. I’m a big fan of their work and I felt that by listening to their scores while composing Sweet Revenge (in addition to Manfredini’s scores), I was able to develop my music and craft my own voice to create something original.
AK: What was the collaboration like between you and your co-composer Matthew Compton?
MR: Matthew and I hit the ground running. He was introduced to the project through the line producer, Brianna Lee Johnson, and once he officially came on board, he invited me to collaborate. From the start, we found a creative rhythm. His experimental approach and my orchestral sensibilities complemented each other perfectly. We bounced ideas off of each other and pushed boundaries while keeping the emotional and narrative arcs of the film in mind.
AK: Horror scores tend to welcome unique instruments and sounds. Are there any examples of surprising or unexpected sonic cues in Sweet Revenge?
MR: Absolutely. Horror scores allow for a ton of experimentation. We explored everything from eerie cello scratches to weird synth textures. A particularly fun element involved the film’s sponsorship by Angry Orchard Hard Cider. We sampled actual cider bottles—blowing into them, tapping them, and morphing the sounds into haunting textures that we sprinkled throughout the score.
AK: How has your formal training in folk and jazz prepared you for your work as a film composer?
MR: Ever since I started writing music, my style gravitated towards folk and jazz. I had formal training at the San Francisco Conservatory of Music and New York University where I learned how to refine and polish who I am as a film composer. Jazz taught me improvisation and rhythmic nuance, while folk instilled a sensitivity to melody and storytelling.
AK: Is there anything else you would like to share about Sweet Revenge or another upcoming project?
MR: I want to give a huge thanks to Matthew Compton for inviting me to collaborate, and to Mike P. Nelson and the team at Jason Universe and Horror Inc. for welcoming us into this legendary franchise. Being part of the Friday the 13th franchise has been a dream come true. I also owe everything to my family, friends, mentors, and especially my parents, whose support has made this journey possible. It all starts at home, and I wouldn’t be here today without my mom and dad supporting me from day one.
