2. What is one of your most memorable experiences filming an indie

horror movie? 

"While shooting Bloody Bridget we filmed a few major scenes at friend and producer Brian Yuzna’s house. Without giving too much away, there’s a point in the film where I chase someone. Now in Brian’s stately house there’s a great staircase and you can go around and around which brings you past his kitchen to the dining room. Well, I’m dressed in lingerie and stilettos and chasing this character in a circle around stairs. While I’m Brian and our other friend, director/producer John Penny are in the kitchen (just off camera) enjoying fine wines, smiling and waving at me!"

"It was completely surreal and tough to stay in character and not laugh! Luckily I was supposed to be manically running, so it probably lent to the intensity and kept my mind off of the pain of running in heels!"

3. Can you tell us about your live burlesque pre-shows, your inspiration behind them and your favorite part about your unique performances?

"I really don’t consider my performances “burlesque” in the traditional sense, though I do call it that as a generic term so audiences know to hide the children since there will be some nuances of nudity. I’m also a classically trained ballet dancer (since 3) and grew up in the theater, constantly performing." 

"I create uniquely immersive multimedia pre-shows based on horror films. These set a tone for the audience to have a greater experience during a screening event. At the request of the Jodorowsky family I created an homage for Santa Sangre which was part of their anniversary screening event in Mexico City. I’ve also done this for Joe Dante’s The Howling, Dario Argento’s Suspiria, Re-Animator and of course my husband Richard’s films." 

"I’m an absolute fan of these films and their creators, so it’s effortless to be completely captivated and inspired. It’s actually hard for me to watch my favorite horror films or listen to my favorite music and not be inspired to create a new piece! I believe that’s what sets my creative insanity apart. I build my numbers based on what I’d like to experience as a fan in the audience. I meticulously dissect and study the film, taking what aspects speak most to me, be it a particular scene or a medley and then run with it. I learn the gestures and start on the choreography."

"With my background in practical effects and costuming I create screen accurate costumes and incorporate riggings that I engineer to keep the effects practical.. like ripping out a beating heart for my Bloody Bridget number or ripping off my arms for my Santa Sangre performance." 

"I’m also inspired by the scores and visuals. Our bandmate, friend and composer Ego Plum, helps create music that incorporates the original score and our friend Aaron Cohen makes incredible backgrounds and videos that are projected behind me." 

"I produce this aspect of our screening events so I have creative control of the experience and work closely with the venues lighting and sound crew. My goal is to completely lose myself and become the character. This is my way of honoring these brilliant horror films!"

4. Who are some horror icons that inspire you in your creative work?

"I’m inspired by many horror icons, but my idol is Lon Chaney Sr. l've actually modeled my personal creativity, career and dedication to the craft after him. We share so many similarities naturally, like our birthday (April 1st). We started out as dancer/ choreographers, moving from comedy to horror and both havie live stage backgrounds. Lon has just always felt like “home.”" 

"His 1925 Phantom of The Opera was one of my very first horror films and later, digging into his incredible history and talent, was a “Eureka” moment for me. Lon was a trail blazer who revolutionized the world of cinema and defined early precode horror and really, horror as we know it. He quite literally wrote the book on what could be achieved with practical makeup, early prosthetics and effects."   

"The score by Victor Young is timeless and perfectly enriches the major thrilling moments while also stepping back and giving nuance to every scene. Young created the popular jazz standard “Sella By Starlight” for the film and was later covered by Ella Fitzgerald, Frank Sinatra and Miles Davis." 

"The brilliant camera work was by Oscar winning cinematographer (eighteen nominations) Charles Lang. The film had delicious soft cinematic lighting, the production design is perfection and the costumes breathtaking. Veteran stage and comedic actors plus a tight script make this such a chilling gothic masterpiece that still haunts me!"

6. What are some of your professional goals for 2025?

"Along with the films and screening events we plan to do, I’m creating a weekly podcast show: “Bloody Bridget’s Horror Chat!” I wanted to create a space where I could use my enthusiasm for horror and deep diving films, something more in the vein of a classic Horror Host." 

"My show will be a blend of film and horror history as we discuss a classic plus a newer horror film—all in my Bloody Bridget character. Also,  great, iconic horror guests will stop by in my lair for a chat. Kind of a Vampira meets The Crypt Keeper with a dash of Vincent Price and some of the goofiness of Pee-wee’s Playhouse…because I’m rather silly!"