Your new movie Bloody
Ballet - in a few words, what is it about, and what can you tell
us about your character in it?
Ballet sees a young ballerina get the coveted role
in the new show. She's having a lot of emotional problems with the weight
of the performance on her shoulders and dealing with other intense
emotions/issues like losing her parents. I play her psychologist who has
her on a trial medication, gotta love trial meds, anything to get her on
course to her life being back on track and manageable. Many things,
including mass murder, tend to get in the way of her focusing on the show!
You do see a lot more blood in the movie than ballet so the horror fans
should not be afraid!
What did you draw upon to
bring your character to life, and how much of Debbie Rochon can we find in
It's pretty understandable to see a person
go through high anxiety over their career when they don't have the other
parts of their emotional life in order. I think that's the case with a lot
of the best artists, no matter what their discipline is. I worked with
that in mind, seeing in the script where my character fits in and how my
character helps move and affect the lead character. I try and make any
character I work on a complete person but it's important to incorporate
why they are in the story and what their overall purpose is. So, in short
using the Michael Chekhov technique and good old fashioned research on the
script I came up with our dedicated-to-the-end doctor!
How did you get involved with the
project in the first place?
A couple of years prior to the
shoot the writer Matt Cloude asked me to be in the film and had sent me
the script. I really didn't hear anything about the movie for the bulk of
2 years so forgot about it. When director Brett Mullen contacted me about
it I remembered really loving the script and was pleasantly surprised it
was back on. I'm glad it worked out because I think they have a really
fine film and should be very proud of it.
Ballet being wildly reminiscent of classic Italian giallo movies,
is that a (sub-)genre you're also fond of in your private life?
I love it very much. I have always loved working with director Ivan Zuccon
[Ivan Zuccon interview - click
here] on his films where we shot in Italy and while he doesn't make giallo
films, his style is so beautiful and he has such an incredible eye it's
much like a giallo film. The possibility of making brutal things beautiful
takes a true master. It's an art form. I love highly visual films with
little dialogue. So of course this type of movie is right up my alley.
Brett Mullen also has this level of talent.
can you tell us about your director Brett Mullen, and what was your
It was so much fun to watch him work.
He is a rare breed. He co-wrote the story, directed, was cinematographer
and editor. Not because he had to be but because he had such a clear
vision for the piece. He was simply a joy to work with because he was
always excited to be there and happy. His joy was contagious. I felt bad
during the times I walked away to prepare for a serious scene because he
was always smiling and extroverted and the way I work is by sequestering
myself - if it's not a comedy. He was great, always up for changing things
to make them better or listening and answering questions. He's going to go
on to be a true master of film making, mark my words.
Do talk about the shoot as such, and
the on-set atmosphere?
Atmosphere on set was such a breath
of fresh air. It was a set filled with people who wouldn't want to be
anywhere else on the planet but there. That's a set most filmmakers dream
of having. It was a highly creative experience and I will always be happy
I had the chance to be a part of it. There was a gentleman on the set
helping in any and all ways possible, his name is Shane, and he was so
helpful to me. There was a location where poisonous snakes and spiders
inhabited the building and my biggest phobia is deadly spiders. He was so
cool and made it right, I am indebted to him! He cleaned off all the
spider webs from my chair and assured me the various set pieces we were
going to work in had been gone over, by himself, and there were no spiders
there or they had been removed. I am very grateful to him because that
allowed me to just focus on my acting. I never forget the kindnesses
people do for me. That was one big one.
Any future projects you'd like to
Doom Room is coming out in January and I really look
forward to people seeing that movie too. A really unique gem directed by
Jon Keeyes [Jon Keeyes interview
- click here] whom I made American Nightmare with back in 2000. Just finished
shooting Lloyd Kaufman's latest and most likely last film Shakespeare's
Sh*tstorm, based on the play The Tempest, that was incredible fun. I will
be directing my second film in 2019 called Torment Road, so buckle in for
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else you're dying to mention and I have merely forgotten to ask?
a massive thank you for your support of independent art. It's deeply
appreciated and has not gone unnoticed by the artists. Thank you.
so welcome of course, and thanks
for the interview!