Many Flames Rising readers may recognize Brea Grant from her role as Daphne on the popular television show Heroes. Did you know that the multi-talented Brea also writes comics? I recently had the chance to talk comics and acting with her for the site. We talked about her upcoming comic-related projects as a comic book writer and her new role as Cassie Hack in the upcoming Hack/Slash motion comic series.

What can you tell us about your upcoming role as Cassie Hack?

I will be the voice and sort of the face of Cassie in the new animated comic. We’re using animation, rotoscoping, green screen, all sorts of stuff to make it super cool and fantastic. So it’ll technically be my face but a lot of animation as well.

What are you most looking forward to in portraying a character like Cassie?

I love Cassie because she’s independent and smart with a dark edge to her. She’s a loner and is dedicated to her work. I love women like that because I feel like I’m that way to a certain extent (although I don’t kill serial killers).

Had you read any of the Hack/Slash series before signing on the this project?

Yep. I think I’ve read most of them. I love Hack/Slash. It’s one of the first comics I always tell people to read if they’re just getting into comics because it’s accessible as well as sexy and cool. I even dressed up as Cassie last Halloween and sent the photos to Tim Seeley via twitter. Of course, they ended up all over the Internet…but I guess that’s to be expected.

There are tons of zombie comics currently on the market, what makes We Will Bury You stand out?

For WWBY, we (I write with my brother Zane) wanted to focus on heroes that weren’t your typical protagonists. WWBY follows two women, a thief and a prostitute, who must use their street smarts to stay alive, instead connections, guns, or training. It’s also set in the 1920s so if you’ve never seen a zombie in a top hat, now’s the time.

What sorts of research went into the writing for the series?

A lot actually. I read a lot about Coney Island because Issue 3 took place there entirely and I had never been there. I looked at that and at Tod Browning’s Freaks because we introduce some carnival folks as well in that issue. Other than that, I have a background in history so I mostly relied on that. There were some things I was unsure of like what kind of phones or tea kettles they might have, but for the most part, I knew what was happening politically and economically at that time and I included that.

The Suicide Girls comic is rather different from We Will Bury You, what can you tell us about it?

SG follows a group of underground vigilantes fighting against a corporate religious technocult. It’s sci-fi/fantasy/insanity. It was a very different world from writing WWBY because it’s a franchise and a lot of people had their hands in creating it and shaping the outcome. WWBY was pretty much just me, Zane, and our artist, Kyle Strahm.

Did you work on Heroes affect your comic writing in any way?

I think my acting affects my writing and vice versa. I definitely think a lot more like a character than a writer and sometimes have to step back to look at the whole story. But I think it means I inherently explore character more.

Working on Heroes affects a lot of stuff I do because it was one of the first projects I did and it means people associate me with sci-fi and comics for better or for worse. It works well for me though because I love comics and I love sci-fi and genre movies. It’s a world I don’t mind being associated with.

What comics are you currently reading?

I just finished the last trade of Chew. It’s pretty much my favorite thing on the market. I keep up with X-Factor and Hack/Slash. I just finished Witch, which is a graphic novel by Terry Matalas and Travis Fickett. I liked that a lot. I’m still making my way through my post-SDCC purchases, but I was pretty good this year about not going overboard.

* * *

I’d like to thank Brea for taking the time to chat with me about her work. Want to check out some of the awesome comic book titles or her roles on Hack/Slash and Dexter? Find out more about Brea Grant’s work at her site BreaGrant.com.

I’d also like to give a shout-out to Teren Oddo terenoddo.com for the photo.

Related posts:

1. Flash Fire Mini-Reviews: Horror Comics (Antarctic Press)
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3. The “Death” of indie comics?

To attain Scream Queen status, one must be beautiful.  Of course, talent helps too.  Now, combine those two attributes with brains and incredible tenacity and you have Brooke Lewis – one of horror film’s fastest rising starlets.  I was fortunate enough to interview Brooke recently to discuss her recent successes including her dual Golden Cob nominations, her latest projects such as the sick new flick, Slime City Massacre, and some of the exciting new projects (some of which are actually old favorites – here’s lookin’ at you, Ms. Vampy!) that Brooke will tackle next.  Please read on, fellow horror fans: 

Congratulations on getting nominated for two Golden Cob Awards this year – Best Scream Queen and Rising B Movie Actress.  You’re nominated alongside some genre heavyweights.  Having had mainstream success early on with the Off-Broadway comedy, Tony n’ Tina’s Wedding, what do these genre nominations mean to you?  Win or lose, do they put you on the map? 

Thank you soooo much for acknowledging the GOLDEN COB AWARDS and I am honored to have been nominated alongside such seasoned veterans of the horror and sci-fi genres.  I feel like my career is an interesting example of how there really is no exact “formula” in this crazy biz!  I started out in mainstream from Off-Broadway to indie dramas to appearances in TV sitcoms and pilots and, although I have never left mainstream, I was blessed to get a “break” in horror and sci-fi and I am loving every minute of it!  I have been such a horror and vampire fanatic, since I was a little girl, so it suits me perfectly! I have been so fortunate to gain an incredible fan base and love and support from my genre peers that the nominations are just “icing on the cake” (Who am I kidding? I cried tears of joy for a month after the nominations were announced!).  In some ways, yes, I feel like I have “arrived” or been “put on the map”, but whether I “win” or not, simply to have my hard work acknowledged, already feels like a huge win to me!  [Brooke won Best Scream Queen, Congratulations! – Jason]

What was your experience like filming Slime City Massacre?  According to your co-star, Debbie Rochon, things got pretty wild during the production – can you confirm or deny this….or maybe plead the 5th?  Are you a fan of the first Slime City (1988)?

Babe, I rarely “plead the 5th”!  SLIME CITY MASSACRE is a little gem of an indie horror/sci-fi/action flick!  Greg Lamberson, the writer/director/producer, put his life into this project and everyone pulled together to create something wonderful and artistic with a very low budget.  To be honest, I didn’t become a fan of SLIME CITY, until I received the script to SLIME CITY MASSACRE. For all the original SLIME CITY fans, Greg really stepped it up with the sequel! 

I play Nicole, a prostitute in the 1959 flashback scenes.  I really enjoyed preparing for this character and hope horror fans enjoy my work in this one.  Debbie told ya things got “wild”, huh?  LOL (I love that woman!)!  So I was told, but, unfortunately, was already back on a plane to Los Angeles when things heated up!  Speaking of heat, the “hottest” and wildest experience I had during production was when I had to be up early for rehearsal the day before shooting.  I was so exhausted and needing sleep when a fire broke out in the kitchen of my hotel.  The alarms went off and we were evacuated from the hotel and I had to sit outside from 4-7 a.m. until they cleared us to go back in!  That was my wild experience! 

You’ve created a unique web presence with Ms. Vampy.  What’s the genesis of this persona and from where are drawing your influences? 

I created a web series MS. VAMPY to introduce the world to one of my favorite characters and I still cannot believe how well she was received!  It was such a lovely little project, in which I created, produced, co-directed and starred under the expertise of my Executive Producer, Todd Tucker of Illusion Industries (formerly DRAC Studios). 

I would love to introduce your readers to Ms. Vampy, whom Elvira, naturally, inspired: “Ms. Vampy is America’s funniest, sexiest, sassiest and most high maintenance vampire.  Her personality is as big as her hair and is often described as Betty Boop meets Marisa Tomei in My Cousin Vinny.  She loves pleather and fur and wouldn’t be caught “dead” without high heels!  But, there’s much more to this lovable Brooklyn vampiress.  While she looks young and vibrant, Ms. Vampy is one of the oldest gals on earth.  She has yet to marry or have children, she freely admits to being boy crazy and hopes to someday make-out with Robert Pattinson.  Ms. Vampy is forever sexy, funny, young, and obnoxious, but her heart is as big as her mouth.  If she ever bites you, it’ll be with love.”  - Editor, Vampity Fair 

You’re a member of Women in Film and you’re also becoming a Scream Queen to be reckoned with.  There is one school of thought out there – one I don’t subscribe to – that would deem those two allegiances as being incompatible.  What’s your take on women in horror, both historically and currently? 

Thank you for calling me a “Scream Queen to be reckoned with” and not “subscribing”!  I think I am/hope to be recreating that rare combination of powerful women in film in both mainstream and the horror/sci-fi genres!  The title “Scream Queen” to me is an honor!  It means a “powerful” female presence in the horror genre!  In my opinion, any true horror fan will recognize that the greatest roles for women in horror history were not necessarily the roles in which women were victimized or objectified, but the roles in which women were the heroine (Jamie Lee Curtis in HALLOWEEN or PROM NIGHT), or the strength behind the man (Margot Kidder in AMITYVILLE HORROR) or the killer (Sissy Spacek in CARRIE).  In my opinion, there are currently sub-genres inside the horror genre and I tend to gravitate toward the more mainstream themes and roles for women, as described above.  I believe there are more women stepping up behind the camera in both horror and mainstream than ever before and I believe that we have strong voices and stories that need to be heard! 

You write, direct, produce, and perform Ms. Vampy.  There are other projects for which you wear multiple hats, so to speak.  Which job do you prefer to do?  What’s your least favorite? 

Acting is my heart, soul and passion, so everything else I do is motivated by my love for acting and to create opportunities for me to do what I love!  Somewhere along the way, I learned that I am a damn good producer!  I actually love producing on a different level, because I am such a control freak about my career.  Producing empowers me to have some input on the projects I choose.  I enjoy writing, because I am very creative, expressive and have all kinds of crazy stories to tell, but I am WAY too impatient to be a full-time writer!  I suck at typing and I’m terrible at structure, but I am great with a team when we collaborate together and I can vocalize my ideas!  At present, I would say I am not really a director, nor do I aspire to be.  I Co-directed MS. VAMPY under the expertise of Todd Tucker, because no one could possibly have had the vision we had for this particular character!  As much as I like the creative aspects, including working with actors and creating shot lists, I do not like the technical aspects of directing.  It bores me and my natural tendencies make me gravitate to the front of the camera.  I’m such the “actress”. 

You’re all over the place these days with several recent projects to promote and several more on the way.  Do you have any down time and if so, how do you like to spend it? 

I feel like I am “all over the place these days”…physically, mentally and emotionally, so down time?  What the hell is that?  Right now, I am dedicating 100% to my career, so that includes acting, producing, writing, developing, publicity, answering emails, fan mail, horror and sci-fi conventions and festivals and let’s not forget “tweeting”!  I swear, who would want to date ME???  When I do find time for a break, I enjoy working out, brunching, wine tasting, deep one-on-one conversations, reading spiritual/metaphysical books and, of course, renting horror movies and having a marathon! 

What’s next for both you and your production company, Philly Chick Pictures? 

As for Philly Chick Pictures, I am proud to announce that we are in the development stage of creating a feature film for Ms. Vampy.  I am blessed to have a co-production deal with Illusion Industries, in which I will star and produce, Todd Tucker will direct, Jim Pacitti will star and produce and Tamar Halpern and Jim and I have written based on my original story.  The feature is a Halloween Family Comedy titled VAMP IT OUT and will be in the vein of THE NANNY meets ELVIRA meets HOUSE BUNNY.  I am following my heart and soul with this piece and my goal is to inspire teenage girls and women to embrace their inner beauty, follow their dreams and when faced with fear, dig deep inside, find their inner vamp and VAMP IT OUT!!! 

As for Brooke, along with the films mentioned above, I have a few others being released this year, including Ford Austin’s horror/scifi/comedy DAHMER VS. GACY, Marc Clebanoff’s dark comedy GERALD, Sal Polisi’s mobster drama directed by James Quattrochi called SINATRA CLUB, Fabian Carillo’s action flick DOUBLE TAP directed by Ryan Combs and a short film SPRINKLES, directed by Roger A. Scheck, in which I play the lead Maura.  This was probably my most challenging and showcase performance to date!  I am attached to play Laura in MONDO HOLOCAUSTO! directed by Anthony Sant’Anselmo and as both an actress and producer will be working on an intense drama/thriller UNTOLD IN WEST TEXAS with my dear friends and business associates Parrish Randall and Roger A. Scheck. 

Thank you for your deep and detailed questions and thank you for sharing me with your readers! 

Love & Horror,

Brooke Lewis

Interview by Jason Thorson

Brooke Lewis at IMBD.com

Also check out:

www.brookelewis.com – www.msvampy.net – www.phillychickpictures.com 

Related posts:

1. Vampire Week: Movies to Die For
2. Vampire Week: Meagan Hatfield’s Shadow of the Vampire
3. Vampire Week: A Joint Interview with Some Hot Urban Fantasists

This is an APB to horror movie buffs within range of Madison, WI.  The Madison Horror Film Fest invades Market Square Cinema at 6604 Odana Rd in Madison WI this weekend and yours truly will be there. 

The fest kicks off at noon on Saturday, Oct. 3^rd and goes through Sunday night.  You can expect an onslaught of indie horror shorts, features, vendors and guests including Debbie Rochon, and Bill Rebane.  Highlights will include a screening of Re-Animator followed by a Q&A with director Stuart Gordon and a “Women in Horror” presentation hosted by Elske McCain and Scarlet Salem.  Check back next week for my full recap of Saturday’s events and if you see me at the fest feel free to say hi.

In the meantime, check out this short Q&A with Fest director Rich Peterson:

What’s your background, both personal and with regard to horror movies?

I worked for years as a music booking agent both independently and for clubs. I booked Luther’s Blues and the Annex [in Madison] and booked other clubs on an independent level as well.  As far as horror goes…I basically got my start watching the late night horror host here in town, Mr. Mephisto from Lenny’s Inferno.  From there I just started reading Fangoria and checking out everything coming out both independently and main stream.

How did you get involved with and/or start the Madison Horror Film Fest?

I saw the other cities throwing these horror film festivals, which were mostly featuring independent films and looking at Madison and the diverse art culture, I thought that this town needed something like this to bring the subculture out.

How well does Madison’s horror subculture support the indie horror film scene?

As small as the sub culture is here, people have been very supportive. We have actually gotten support from all the surrounding horror communities: Michigan, Minnesota, Illinois and beyond.

What can the sick bastards attending this year expect to experience?

Great short and feature independent films ranging for horror comedy to extreme terror. We’ve got great guests lined up and will be raffling off DVD’s and other horror collectibles as part of a benefit for the Autism Society of Greater Madison.

Anything you’d like Flames Rising readers to know?

That’s about it besides the fact that people can get advance tickets at Westfield Comics at 7275 Mineral Point road, Pre-played 440 State Street [both in Madison] or online at http://www.madisonhorror.com.

Related posts:

1. Why “13 Ghosts” is a Classic Horror Film. New at Crackle.com!
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We have a special treat for all you Neil Gaiman fans out there! From comic books to best-selling novels, Gaiman has wowed fans with his mythical tales and endless imagination. Now for the first time on the big screen, the animated film Coraline is set to debut in just a few weeks. Fans of The Nightmare Before Christmas will want to go see this film; Coraline has the same talented director, Henry Selick.

What is Coraline about? The film is based on a novella first published in 2002 entitled Coraline, about a young girl who avoids a warning and goes through that fateful door. Once inside, Coraline faces a world similar to her own with marked differences: her mother is no longer recognizable, the cat can talk, and the doddering old ladies Miss Spink and Miss Forcible are more than they appear. Winding through other twists and turns, you’ll watch as Coraline attempts to emerge victorious, rescuing more than just herself.

We had the chance to read the Coraline novella here at Flames Rising, and noticed that this is a story unlike other young adult tales. Masterfully-written, you’ll watch Coraline grow into her role as the heroine, but also retain her sense of self and childlike innocence while she’s doing it.

We are pleased to offer you an inside look into the mind of Neil Gaiman. Mr. Gaiman was kind enough to answer a few questions about this long-awaited, animated debut.

Neil Gaiman on Coraline

FLAMES RISING: What was the most challenging part of your novella to translate into film?

GAIMAN: Finding the right filmmaker was the challenge. I sent the finished manuscript to Henry Selick and he bought it. Then I waited 9 years.

FLAMES RISING: What is your favorite scene in the movie?

GAIMAN: Favourite scene is the end, with the Other Mother in her final form, and anything with Spink and Forcible in it.

FLAMES RISING: What inspired you to create the character of Coraline?

GAIMAN: The inspiration for Coraline was that it was a story for my daughters, with a girl who got to be brave but was normal. She’s a bit Holly, a bit me, but mostly herself.

Join us in welcoming Coraline on the big screen and watch Mr. Gaiman’s favorite trailer included below for your viewing pleasure.

For more about Neil Gaiman, don’t be afraid to visit either Neil Gaiman’s website or the official Coraline movie site today.

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Flames Rising is proud to bring you an exclusive interview with Tad Stones, a veteran in the animation industry and long-time Hellboy fan. Tad worked as a producer and as a writer on the popular Animated Hellboy series; breathing life into “Big Red” on the small screen.

In this interview, Tad talks to us about his experiences working on the Animated Hellboy films Sword of Storms and Blood and Iron, how he met Hellboy creator Mike Mignola and a few, other surprises.

How did you first get involved with the Hellboy franchise?

I was a fan from the very first Dark Horse Publication of Hellboy. I really thought Mike Mignola’s art was hitting a cool place with comics like Gotham By Gaslight and Cosmic Odyssey for DC comics. Hellboy took that art and applied it to supernatural subject matter which has always interested me. So around 1995 or 1996, I pitched Hellboy to Disney TV Animation because they were looking for “edgy prime time” shows which turned out to be shows that looked like The Simpsons.

Perhaps needless to say, Hellboy did not become ensconced in the Magic Kingdom but I was constantly pitching shows with similar subject matter. Some comedic, some dramatic. Finally, I got to adapt Disney’s Atlantis as a TV series which gave me a chance to work with Mike. I basically hired him to design monsters for the show since the movie’s art direction was heavily influenced by his work. The series was cancelled in mid-production when the feature failed to perform.

We had enough done to connect into a DVD feature, Milo’s Return, so the crew and fans got to see what might have been. About a year after that I left Disney after 29 years. Or maybe I should say a door was opened for me and management started to wave “goodbye.”

I needed new sample scripts to show around and I asked Mike if I could write a couple of Hellboy half hours. He was agreeable to it so I pitched him stories and he gave some notes. Guillermo del Toro’s movie was in preproduction around then and Revolution Studios was interested in an animated Hellboy project. I had met with Sam Register, then head of development at Cartoon Network, and learned he was a Hellboy fanatic. He wanted a Hellboy series for the network. So it was cool that my name was submitted by Mike, Guillermo, Cartoon Network and my agent who was handling licensing for the movie. It was sort of a perfect storm for me. Ultimately they couldn’t reach a deal on the series and the idea of doing DVDs was brought up.

How is your work on Animated Hellboy different than working with some of your previous credits like Disney’s Darkwing Duck or Aladdin?

Darkwing Duck was my creation like Hellboy is Mike’s, except that animation is a hugely collaborative medium. I was able to produce the series without having to deal with network notes because it was for syndication. I doubt most of the story premises would have been accepted in today’s system. Animated programming has to serve too many agendas.

The motion picture, Disney’s Aladdin, was written and directed by friends of mine, John Musker and Ron Clements. I really wanted to do right by them but the series schedule was a steam roller that forced me to expand the kind of stories we did. I liked the episodes that were more serious, more filled with adventure. Sometimes the character of the Genie ran away with the show.

Although it’s a separate universe from the comic, I really wanted Hellboy Animated to mirror the atmosphere of the comic. There was no studio interference so the only notes I got were from Mike. That is “notes” meaning “inspired and brilliant ideas.”

You’re credited as a “Producer” and as a “Writer” for both Animated Hellboy titles. Can you tell us about the challenges and rewards of those roles?

The meaning of producer credits varies from studio to studio, but on Hellboy Animated it meant I was the creative lead. The reward is being the one to hire a team of really talented people. Working with that type of crew is fun as well as rewarding.

Writing for animation has the same appeal as any other type of storytelling. Creating characters, mood and the details that make up a great story combines blue sky imagination with a sort of puzzle solving aspect that’s simply tons of fun. This project had the added appeal of working with Mike and trying to imitate his way of doing things. At the end of the films, Mike and I have trouble remembering who thought of what, which I take as a great compliment.

The scripts of Hellboy Animated were written by Matt Wayne and Kevin Hopps although I had to add enough additional material to Sword of Storms to earn a co-writing credit. My real fun was writing the third script, The Phantom Claw, by myself.

Who is your favorite Hellboy character and why?

I really enjoy writing the relationships but if you told me that I could only do stories with one character, it would have to be Hellboy. Putting him in any strange situation immediately leads to stories and great action.

Hellboy: Sword of Storms and Hellboy: Blood and Iron both draw from world myths and legends. How much research went into the two scripts?

Imagine a library where there are no boring books, where every volume is about folklore, the paranormal, weird experiments or bizarre fiction. That library is in Mike Mignola’s house so we had plenty of reference material. There’s also the internet (of course) which put me on the track of several Japanese stories. Blood and Iron required much less research than Sword of Storms. We both knew the stories of the blood countess although I had to do some reading to refresh my memory. Mike has all that on the tip of his tongue.

Of course, we weren’t trying to be 100% accurate; we were writing new works of fiction inspired by all that stuff. I’ve gotten compliments and complaints from anime fans impressed or disappointed with how we dealt with the mythology.

Of the two animated films, what are some of your favorite scenes and why?

In Sword of Storms, I love the Abe and Liz stuff from the plane crash to the discussion in the rain about burps. That was lots of fun to write and Selma Blair and Doug Jones really sold it all. I really like the “Let’s bash a monster” action of the Kappa sequence and the art direction we pulled off with the spider lady. And of course “Heads” was a story pulled right out of the comics, so I enjoy that on a whole other level.

Strangely enough, in Blood and Iron my favorite sequences are the flashbacks with a young Professor Broom although it’s hard to top beating an ancient deity with a bathtub.

Do you consider Hellboy to be horror? Fantasy? A blend of genres?

Hellboy is definitely a blend of all the pulp stories that Mike discovered in the seventies. Lots of Weird Tales material was re-released around then from Lovecraft and Manly Wade Wellman to William Hope Hogdson and Edgar Rice Burroughs. The blend of horror, fantasy, folklore and dry humor puts Hellboy in a unique category.

What advice do you have for writers and artists who’d like to get into the animation industry?

Don’t. That sounds flippant but the industry is a real roller coaster, yet you have to live in one of the more expensive cities in the world while you’re trolling for jobs. If you can’t be put off then read an assortment of books about screenplay writing, the specific titles don’t matter as much as you’d think. Then to make a living at it, you have to be able to write both superhero action and low brow comedy. One of the most stable genres in the industry right now is preschool shows. It requires a mix of entertainment, education and a bit of sociology. If that sort of variety appeals to you, then by all means jump in. It’s unfortunate there are so few staff writing jobs left. Freelancing can’t beat working closely with artists and other writers, and being inspired by all the beautiful art on the walls.

Will the third installment of the Animated Hellboy series dubbed Hellboy: the Phantom Claw ever see the light of day?

Sadly, it doesn’t look good. Sales of the first two really climbed as the marketing for Hellboy II: The Golden Army kicked in but they disappointed when first released. The studio that currently holds the rights is for sale so we can only hope for some truly hellacious buyers to get things back on track. In the mean time there was a CG short of Hellboy done as sort of an experiment, and that should be surfacing on the net somewhere soon.

What’s next for you?

I wish I knew. Remember that roller coaster I mentioned? In the meantime, I have a comic book proposal out right now. It’s an idea that Mike really pushed me to draw on my own instead of pitching it as an animated series. Who am I to argue? The guy knows a thing or two about comics.

Conclusion

To find out more about Tad Stones and the Animated Hellboy series visit Animated Hellboy Online for production notes and more in-depth coverage about what the Hellboy animation process is all about. Currently, new posts for the Animated Hellboy site are on “hold” until the series picks up again. Tad’s most recently produced work entitled “Turok, Son of Stone” is available on DVD.