A Serial Killer's Guide to Life is a 2019 British satirical horror road movie written, directed, co-produced and co-edited by Staten Cousins Roe in his feature-length directorial debut.

After engaging in some activities such as tree hugging, pitching camping tests and listening to one of the three other attendees provide evening entertainment by singing a song in Welsh, they all turn in.

Ironically, once Knoah realizes these are the two serial killers on the news, he says his publisher would just love their memoirs, and is on a phone call arranging a meeting when Val shoots him in the head.

The film ends with a repeat of the opening scene of Lou, walking outdoors, wearing earbuds and listening to a recorded Knoah lecture.

The short attracted positive attention and sales, and the filmmakers in January 2017 did a crowdfunding campaign for a feature film they originally titled Self-Help.

Sony generously agreed to let us use their F55 (the one used on The Crown), and many location owners gave heavy discounts – to help support a local, independent film.

I found myself a mentor in Colin Goudie (editor of Monsters and Rogue One: A Star Wars Story), who I met on an editing workshop he spoke at.

Colin encouraged me after watching a rough cut, giving some golden advice.... We also kindly got edit notes from Julian Doyle (editor of Brazil, and Monty Python and the Holy Grail), which supported the comic timing beautifully.

[2] Lorry Kikta of Film Threat wrote "[a] bone-dry dark horror-comedy, A Serial Killer’s Guide to Life, is I Heart Huckabees meets American Psycho by way of Thelma and Louise.

"[11] James Perkins of Starburst wrote "Satire is very difficult to do - especially when trying to find the balance of telling an interesting story and also being respectful to anyone affected by the source material.

"[12] However, while Sep Gohrdani of the UK magazine VultureHound called it "an engaging, sharp, witty and darkly fun black comedy," he said it "doesn't quite live up to its full potential" because it "never manages to take the concept to the next level, and thus it remains watchable without being remarkable.

"[14] Commenting on the musical score, Josh Sandy of The Mancunion, the University of Manchester student newspaper, said it "is packed full of orchestral pieces.

Whilst this may be a slightly unorthodox choice, the increasingly discordant and erratic music provides the ideal accompaniment to Lou's rapidly deteriorating mental state.