the SCREAM QUEEN SPEAKS: an interview with VICTORIA de MARE

jmb: I don’t have your resume with me or memorized. Tell me a little about what you did before WEREWOLF and SHADOWS.

VICTORIA: I actually do have a resume with me if you’d like to have that in front of you. And I can kind of answer it all at the same time.

My beginning was very early and very young. My first project was on a short called SWEET SUSPICION which was a thriller. I was the star… and I was 13. So it has been a long process. I have to start putting on my resume in parenthesis “partial list” in each of the headings because it’s getting so long, it just doesn’t fit in there anymore.

jmb: Selected credits.

VICTORIA: Yes, selected. So that’s what it’s going to come down to. Of course, if you go on IMDB, there’s a section that can list everything and it can go on for pages and pages. When you’re walking into appointments, it’s best to hand them one sheet of paper.

So my beginning was very early. I was – I began, actually, as a ballet dancer. Started performing when I was six. So my introduction to the theatre and performance was very young. My mom was a ballet dancer. So that’s kind of where the beginning was for me. And in and through college, I was a dance major. My first year I went to NYU and then I was admitted into the Joffrey Ballet company. So I had switched my major to theatre arts and broadcast journalism. I was very interested in television and radio production, putting it together, and theatre, of course. And then from there it kind of became a process of auditions and a process of elimination, I guess. I mean, you go to so many more appointments than you can handle sometimes. Then sometimes you don’t even get a response. But… (I) started in the theatre. Moved quickly into film and remained there. I would say the stage and the screen are my two favorite venues. And as a child, horror movies and thrillers and Sci Fi and that kind of genre was always my favorite. I was always going into the video stores – back in those days there were no DVDs – and standing in front of the horror section as a child looking at all the crazy covers and the artwork going like, “Wow, I’m not able to rent them.” Trying to bribe my best friend’s brother to rent them for us so we could watch them.

jmb: Do you remember what your first or your favorite film was…?

VICTORIA: I really loved the FRIDAY THE THIRTEENTHs… classic. And the HALLOWEENs. And the NIGHTMARE ON ELM STREETs really scared me. I was always petrified. And still to this day when I’m watching horror films, whether it be at home on my screen or in the theatre, I’m watching it halfway with my fingers over my eyes petrified and totally traumatized. Still, I don’t know, we would work on them so I guess that it’s always been attractive to me. And it all just kind of fell into place. And those were the auditions and meetings and castings that I was going to and I was getting work out of. It just seemed kismet that I seemed to be on my path. So I always wanted to be the girl running around the woods from the axe murderer. And you know, I was the one watching her as a kid and going, “Run” when she trips and “Get up.” And “Oh, my God” and what I would have done.

jmb: Don’t go downstairs!

VICTORIA: Yeah, “Don’t go in there. What are you doing?!” Yeah, so it’s been … I feel it’s been a long distance run. Like a long road of ups and downs but I feel I’m on my path. Horror has been – and is my favorite genre as an audience.

jmb: Of the ones that you’ve done, do you have a favorite?

VICTORIA: Um… So hard because I start thinking about my friends. Because most of the filmmakers that I’ve worked with, I’ve worked with repetitively. And they’ve really become my colleagues and friends, so I’m a little biased. I really love working with Jeff Leroy. I would work with him again and again on anything. We did PSYCHON INVADERS together and WEREWOLF IN A WOMEN’S PRISON. He had also worked on AZIRA: BLOOD FROM THE SAND and THE SOUND CAPACITY. I worked on that as well. And that was co-written, co-directed and co-produced by Vincent Bilancio who also worked on PSYCHON INVADERS and WEREWOLF IN A WOMEN’S PRISON as co-writer, co-star and producer. So, those two guys in particular are my favorites.

jmb: Tell us about WEREWOLF IN A WOMEN’S PRISON.

VICTORIA: Oh, yes, let’s do. That was one of my favorites, I have to say. WEREWOLF IN A WOMEN’S PRISON was one a feature that I did last summer with Corky Quackenbush. (It) was one of my favorite experiences.

jmb: So what was the director’s idea in WEREWOLF? Where does he see that film placed in the horror world?

VICTORIA: As being this generation’s cult classic.

jmb: Right. I mean, I’m being delicate, but I wanted to ask you, is he really thinking that this is like an Ed Wood homage kind of thing, in that really over the top, very cheesy…

VICTORIA: Yes, it is.

jmb: Very…

VICTORIA: Yes, ridiculous.

jmb: Very – fountains of blood and…

VICTORIA: And it’s hilarious. Way, way, way over… You know, Jeff is such a humble, humble guy. He’s just really happy that anyone watches it at all. He’d have to really tell you more specifically his ambitions with it. Just to have it out there and have people watching it is enough for him, actually.

jmb: When I was working on my review, my first line was, “This is a cult classic to be - one of those genre late night movies that everybody 420s and laughs their heads off.”

VICTORIA: Yeah…

jmb: …And has a crazy wild time with …

VICTORIA: Exactly, and I think Jeff is very aware of himself. And I say that in a complimentary way to him. I think a lot of filmmakers get ahead of themselves and where they see they want their career to go, but aren’t necessarily in their mind where they are right now. And Jeff is very present with himself. He is very aware of himself… and knows exactly what he’s making and what people’s reactions are going to be to it. And that’s admirable in my opinion. I think it is exactly everything you point out. I think it’s funny. I think it’s ridiculous. I think it’s true grind house; a classic grind house movie. And I heard…

jmb: Very Roger Corman, very Troma…

VICTORIA: Very classically B Horror genre like you said, like a late night movie that everybody is turning on. And I heard a lot of filmmakers and friends of Jeff’s and Vinnie’s and people that are fans of Jeff and Vinnie’s and had seen their other films and had seen this going, “This is the kind of movie that you see and you tell someone. You just have to rent that.” Or “You have to go see that.” Or “You have to buy that”. It’s just – it’s out there. And – I don’t know, it’s campy and ridiculous and it meets all the elements that one would be looking for in watching a Werewolf movie and / or watching a women’s prison movie. So you have to have a margarita and watch it. Or, you know, watch it with a grain of salt in that it’s supposed to be as over the top as it is.

jmb: Now, who’s responsible for the werewolf?

VICTORIA DE MARE: Who’s responsible for the werewolf?

jmb: ‘cause that’s got to be the worst... like, that werewolf looks like a bad rug. It’s so funny.

VICTORIA: Yeah. I love the werewolf costume. Jeff Leroy and the special effects department were responsible for the werewolf costume which was actually a seven or eight foot suit that an actor and stuntman was in running around.

jmb: It’s very funny.

VICTORIA: It is hilarious. And I think it works for what it is. I think it’s really, really brilliant that they did what they did with what they had to make this film.

jmb: Do you know what the area of the budget was?

VICTORIA: I’d rather not say. I’d rather not say. It was very low. Very, very low.

jmb: I did an interview with a director recently and I asked him that question. Nobody ever wants to say, but…

VICTORIA: No.

jmb: He said, “It was south of $300,000 and how far south of that border we went, I really don’t want to say.

VICTORIA: Yeah. Let’s just say that we were south of $100,000. But let’s just keep it at that.

jmb: Now, did you have a favorite scene in that movie? I have some favorites…

VICTORIA: I have several favorite scenes. One of which were my scenes with Jackie who played the warden’s mistress. She’s great.

jmb: Jackie the dominatrix.

VICTORIA: Yes. Jackeline Olivier. She was great. We had a good time doing those scenes with her being mean and torturing me. And where I was in the prison and what’s going on that they were difficult scenes to do – in most of which I was completely nude or half nude. Difficult to do a whole scene and be in the scene and not so aware of yourself that you’re laying on a table with a room full of people totally nude. But it was fun. And she was a professional. And also no one made me feel uncomfortable in any way, which was good. There were many professionals that worked on this film, which I think made it work.

jmb: So, I’m just going to interrupt for a second because you brought it up. Which is great, so I don’t have to bring it up. So you’re nude a lot.

VICTORIA: Yeah, I’m nude a lot.

jmb: And you’re nude a lot in SHADOWS too.

VICTORIA: Mmm hmm.

jmb: And how’s that for you now? How do you feel about it? I mean, I’ve been nude on stage and on film actually. In the hot tub scene in one of Linda Blair’s movies. A women in prison movie, actually.

VICTORIA: Hey!

(We both laugh.)

VICTORIA: That is so awesome!

jmb: I’m the dude in a hot tub with the prisoners, yep. The scene where they take the prisoners out. You know, like the scene in Werewolf…

VICTORIA: Yeah…

jmb: …where the guy’s …

VICTORIA: Yeah…

jmb: …having his way with the girls… It’s a classic of the genre where the girl’s top’s taken off by the nasty Johns …

VICTORIA: Yes, the misogynistic component.

jmb: So I’m one of those nasty Johns in a hot tub scene.

VICTORIA: Nice!

jmb: With a stripper. It’s actually quite a fun scene to shoot. (Laughs.)

VICTORIA: I bet it was. I bet it was. There were a lot of fun scenes in WEREWOLF. You know, how I look at nudity or – there are two ways that I look at nudity. The first of which (is) plainly and simply – You know, there’s nudity in life and people that can’t handle watching nudity on film, you know I kinda wonder about that. But a lot of the characters I play have – none of which is gratuitous and I’m walking around naked. I mean, I’m coming out of a pool or I’m coming out of a shower or I’m washing...

jmb: Or you’re getting into a pool.

VICTORIA: Or I’m getting into the pool. Or I’m in my bikini or I’m in a prison and I’m being tortured and they’re stripping me. I mean, there’s always – it’s never gratuitous just: “So, there’s Victoria naked in the scene for no reason.” There’s always a reason. And I’m the kind of actor who likes to take a risk. I appreciate other actors who like to take a risk. And it’s certainly a risk to take off your clothes and perform in a scene wherein the focus isn’t necessarily on the nudity even though you know that’s what everybody’s looking at. I mean, you still kind of have to live in your character and in the moment and realistically convey what you’re supposed to be doing. It’s a risk. I like to take a risk. And also, I mean, honest to God, it’s part of the equation in this genre. And in many – more so in film – even more to this day, not even horror genre, but on the edgy dramas and films there are more and more scenes with nudity. And graphic nature situations for actors. And the ones that are willing to take the risk and do it, my hat’s off to them. Sometimes it doesn’t always work. And it’s very stressful. But also, if you want people to go see your work, take off your clothes. I mean, sex sells, it just does. You know, I’m not – I’m – I’m in the B genre, which is, in and of itself – you know, I’m not doing pornography or anything like that.

jmb: You seem very pragmatic.

VICTORIA: Yes. And, you know, if you want people to go see your films, and the script comes and you have a nude scene, people are going to want to go see it. Sex just does sell. And if you’re not able to deal with that kind of tongue-in-cheek and that kind of equation, especially for B Horror films, then you should choose another genre, ‘cause it just goes hand-in-hand. And sometimes the lighting is really good and, you know, I keep my butt in shape and I’m ok with it. Taking off your clothes and embarrassing yourself is one thing. So I try and take all the necessary precautions not to embarrass myself and to make a really good relation with the cinematographer, and the editor who’s choosing all my best sides in the editing process. But – no, it’s hard and it’s stressful and there are a lot of women, I think, that fall into the category of all of a sudden that’s all they do. They only appear nude in this scene or play this character and that character because they are nude. I don’t do nudity in all my films. However, some of them have been full nudity. So, I don’t know. I’m comfortable in my own skin. And I think if I weren’t, I wouldn’t do it. I would never do anything in a film that would be so risky where I’d be, “I’m risking my life” or my morals or whatever. I’m not doing anything that I would be so super embarrassed that my mother was watching. However, she hasn’t seen WEREWOLF IN A WOMEN’S PRISON yet. So, I mean, just listening to your reaction to the scene in the desert. (laughs).

jmb: You already know where this interview’s going. Because that’s going to be the next thing. I have to say it’s my favorite scene.

VICTORIA: It is?

jmb: I was totally surprised when she starts licking the sweat off of you. I laughed. And then I went, “I can’t believe she’s doing that.” It’s just too, too good.

VICTORIA: It’s funny. It was really funny. And that scene was handled with some serious care. I was insistent of that and Eva Derrek was a total professional to work with in that scene. And it was a very hot, windy day out in the middle of the desert. All of us making it work. And I just wanted to make sure that that scene didn’t turn into something that it wasn’t supposed to be. I mean, therein that her character wants to try and lick the sweat off my body to survive. And then at first Sarah’s like, “What are you doing?” and then, “Hmm. Why not?” Then see if it works. I mean, it’s funny. It’s funny. And it’s almost kind of a – I mean, it’s an erotic scene. It’s not a sex scene. And it’s almost kind of mesmerizing the way it was shot. How the camera kind of follows our heads and tongues. And it’s the arms and it’s the legs. And it’s the neck and the back and it’s almost kind of mesmerizing and it works. So – and it’s not too long. So – and, you know, Sarah’s taking on the characteristics of becoming a dog. And if you watch the scene really closely, I’m panting in this scene. As a dog would be doing out in the middle of the desert. So --

jmb: I think people might read that panting differently.

VICTORIA: (laughs.) They might. And that’s ok. Everybody’s entitled to their opinion. But people love that scene. I love that scene. I was nervous about that scene and I think it came out really well.

jmb: It’s a great scene.

VICTORIA: Thank you.

jmb: And it’s not as sexually charged or sexually intense as the scene between the other two women.

VICTORIA: Right.

jmb: That you see intercut with the S&M scene in the warden’s office and the werewolf hunting… and the two girls in the bed together in the cell.

VICTORIA: It goes on for a while. Yeah, the only really complaint about – or complaint or criticism – everybody has their own opinion of the film – was that that both scenes that he was trying to get all into the movie, which I think were all essential components: the S&M and the werewolves hunting and we’re out in the desert and the girls are in the cell, it was essential to have that all in there. However, I think it goes a little long. But then again on the flip side, most men that are watching the film are rarely complaining about that scene. They rather like it.

jmb: For some people, it will never be too long, that scene.

VICTORIA: Yeah, some people love it. So it kinda goes both ways. But I think that’s an essential component, again, to have in that film a lesbian sex scene or – it wasn’t really a sex scene - it was kind of, I mean, they weren’t totally doing it or anything. But it kinda began and was a lesbian scene, let’s just say. But I – I’m glad I wasn’t in that scene. I didn’t want to be in that scene. My character, Sarah, was not a lesbian. But…

jmb: From a man’s point of view, it’s definitely a sex scene.

VICTORIA: But it’s a sex scene, it’s a lesbian sex scene, yeah. But the licking – their frantic licking scene was – I have a line of where I’ll go or won’t go. I’ll go right to the line or maybe beyond the line. I mean, I’ll never go below it, to do the scene the girls were cast to do in the cell. So, we’re comfortable with that. That’s a lot of the work that they do and that’s fine. But that’s not the kind of work I do. So they needed to have it in there. I thought it was a little long. I would have rather seen Eva and I licking each other a little longer then the other girls. But, you know what? I don’t really hear too many complaints or criticisms coming from most men. They like that scene.

jmb: (Laughs.) Going back to the licking scene for a moment: was that scene in the original script – was always there?

VICTORIA: That scene was in the script. However, that scene was written in the original draft as more – going more – a little further towards where the girls in the cell were going. I wasn’t into that because I didn’t think that that – I mean, that’s not who Sarah was and what Sarah was doing. And I was really intent to follow who I was playing all the way through. I mean, Sarah wasn’t a lesbian. I mean, she was with her boyfriend and then this atrocity happens to them. And then she’s in the prison. And she’s making do. Initially when she meets – my character meets Eva’s character, Rachel, in the cell and Rachel approaches her in a way and crawls up to her on the ground, Sarah kind of slinks back, up against the wall and is a little uncomfortable around the situation. And I could see where the scene would go to a point and then stay at that point. All of a sudden Sarah starting to make out with Rachel just didn’t seem right. The scene was turning into something else. And then it felt to me like the film would have suffered there because it would have just skewed it into, uh, “Ok, this is just a lesbian sex movie,” which it’s not. So it was written differently than it was performed and I think it works better.

jmb: I agree. I agree. I mean, it’s a great scene and I think it really just skirts that. It skirts the edge of that whole idea of overt lesbian sexuality.

VICTORIA: Yeah.

jmb: And also because you have the other scene, you know, of the two girls in the cell, that you’re absolutely right. If it goes any further than it goes, then it becomes like, well, ok, this is a lesbian movie.

VICTORIA: Oh, yes.

jmb: A lesbian horror movie - now, there’s a sub genre for ya!

VICTORIA: Yes, exactly. And I’ve made a point to Jeff and Vinnie in discussing this with them that, you know, are we making a horror movie or are we making a lesbian sex movie? You know, are we making a soft pornographic hot girls just having sex in this prison and then there’s a werewolf movie? Or are we making a werewolf movie that ends up in a prison and taking everybody out? We agreed to keep it on the werewolf side and the women’s prison was just an added bonus. And that scene between the girls in the cell was so long. And then with the other S & M scene in there and Rachel being raped – drugged and raped and this and that. I mean, that kinda covers it.

jmb: I think so, yeah. Let’s see. We’ve got bestiality. We’ve got rape. We’ve got lesbian sex. We’ve got S & M. We’ve got a man that’s a submissive. We’ve got a dominatrix. We got the dog collar. We got somebody tied to a pole.

VICTORIA: Oh, yeah.

jmb: And then for those who are really into the gore, we have lots of body parts being ripped off and spurting blood. And my personal favorite over-the-top gory moment is when the girl is grabbed by either ankle and ripped apart down the middle through the cell bars.

VICTORIA: Yes.

jmb: That was one where my jaw literally dropped. Now, there’s one I’ve never seen before.

VICTORIA: I love that scene. I think that that might be the hands-down favorite scene of the film.

jmb:: That has to be. It has to be one of the most surprising gory moments I’ve seen in a movie. Whether it’s, you know, cheap and sleazy cult or high budget, I have to say I’ve never seen anyone ripped down the middle before on a cell bar.

VICTORIA: Yeah, that is all Jeff.

jmb: So where’s it going to go now? What’s the hope for WEREWOLF? I know that it’s going out on a DVD release.

VICTORIA: September fourth, Labor Day Weekend. September fourth of this year is the official domestic release date nationwide which will be really exciting. So we’re in the process of a lot of promotion all this summer with the distributor and such. It’s also playing at the Le Horror Festival in France this summer. It’s also playing at the Silicon Festival in Northern California at the beginning of the fall. So there’s a lot going on, which is really terrific.

jmb: There’s a long tradition of serving your apprenticeship with Roger Corman and/or Kaufman at Trauma Films. Or…

VICTORIA: Absolutely.

jmb: And now it’s become much more the – in a way, like 10 years ago, it used to be make a great short film and people will see it and you’ll get picked up. And now it seems to be – it’s either make a great horror movie or, you know, do something that catches 10,000,000 people on You Tube.

VICTORIA: Exactly.

jmb: …the new avenues into the inner sanctum of Hollywood or at least into the larger budget Hollywood.

VICTORIA: Absolutely. I’ve paid my dues in the ranks of Charlie [Band] and Roger Corman and such. So I think horror will always be popular. And whether you’re doing it on a lower budget or a bigger budget, if you enjoy it, and you understand the components, then you’ll be ok. It’s ever changing with this technology of You Tube. All of a sudden everyone is putting up their videos and making films and putting them up like you said. I don’t know, it’s become a little skewed. I do believe there’s an art form to it and there are some amazing special effects artists and filmmakers that make these films that – it is art. And they’re truly gifted. I hope it doesn’t get too off track here with such conveniences of buying a digital camera and putting it up on You Tube and getting 25,000 hits and then all of a sudden you have a film deal when these other guys are struggling for a decade to do their art. So …

jmb: I wanted to talk with you a little bit about SHADOWS.

VICTORIA: Oh, yes. It’s on DVD in Thailand. When it’s coming domestic is a to be announced situation. Anyone can check out IMDB or my website, which is screamqueendemare.com. I have a slate of all my releases foreign and domestic and my projects in post-production and production and in pre-production.

But SHADOWS was very fun… much more of a fun, silly, campy psychological thriller. It’s not really horror at all… It was more comedy than horror drama, which was fun. A comedy…

jmb: Where was it shot? I love that location. I want to go there.

VICTORIA: It was shot in Palm Springs. We had a blast there.

jmb: I was looking at it going, “Oh, I want to go spend the weekend there.”

VICTORIA: Yeah. It was a home. It was a private residence, actually. Yeah. A palatial place. And we – the principals and the crew stayed at the house. And the other actors were put up at a hotel very close to there so I, playing Stevie, stayed there at the house. It was a blast and an amazing place. It felt like a resort. We had a really good time. But it really served its purpose for that. What we needed as a location.

jmb: It’s more ambitious in terms of storytelling. It’s more complex. It has more twists and turns in it than WEREWOLF, which is pretty straight ahead.

VICTORIA: Yes.

jmb: You know where you are. You know where you’re going to end up, you know.

VICTORIA: Yeah. And SHADOWS actually played in 2005 at the Independent Festival for the... It’s the FI – the IFAIF or something. I’m sorry, I can’t believe I can’t remember. We played at the festival at the Mann’s Chinese 6 Theatre in October of 2005 and it was really fun. It was really great. It was a new film festival. New Hollywood film festival and I can’t remember. It was the Film Festival for Independent Artists and Filmmakers or something like that. It still goes on every October, I think. It began maybe in 2003. It was fun for it to play there. See it on the big screen. And we had a nice turn out. It was great.

jmb: And how did you end up selling it in Thailand? Do you know how that happened? I mean, that’s such a strange thing.

VICTORIA: You know, sometimes these small movies go foreign first and even though you know Germany and France and the UK are bigger foreign markets to go to, sometimes they go to the really smaller ones like Singapore and Thailand first. I think in Asia, Japan and China would be the biggest places to go. To go there. SCI FI INVADERS is in Japan right now. I don’t know. I wasn’t a part of the picking up deal – the distribution deal - so I’m not really sure. I’m just happy that it’s out there in some capacity.

 

jmb: So what’s next for you? What’s up? What’s on your horizon?

VICTORIA: Next for me, I’m in pre-production with a couple productions right now. One of which is another Jeff Leroy film. One of which is another Corky Quackenbush film. Another of which is a Jackie Napoli produced film. Jackie Napoli produced DORM OF THE DEAD starring Tiffany Shepis, which was also picked up by the same distributor as WEREWOLF. She’s doing a project called CHAINSAW CHEERLEADERS coming out. When I saw that, I had to submit. Unfortunately, I won’t be playing one of the cheerleaders though, I’m playing a vampire in the film. I’m playing the bad evil one who takes out the cheerleaders. So I submitted to that and she called me to say, “I know who you are.” I’m like, “You do? Fantastic.” So we’re in pre-production with that. She actually has a slate of five pictures she’s going to shoot back to back in which I’ll be starring so it’ll be really fun.

I’m also in pre-production. Excuse me, I’m in production with a film by filmmaker Richard Cole called WELCOME TO THE HOTEL HORRIBLE. And I’m in pre-production with a masterpiece called BIOSLIME.

jmb: BIOSLIME?

VICTORIA: BIOSLIME, yeah.

jmb: Excellent.

VICTORIA: So I have a whole bunch – I booked ten features so far this year.

jmb: Wow!

VICTORIA And just finished my sixth. So I’m cranking them out.

jmb: So are you taking a break after that?

VICTORIA: Oh no. Taking a break – my taking a break moment is going from production into my post-production depression until I’m in my pre-production happiness with the next project. I am thoroughly obsessed with my work. And I – there’s plenty of time in between projects to take a moment if you need that physically or psychologically. But I’m really happiest – actually, you don’t want to be around me when I’m not working. Definitely I’m happiest when I’m working.

jmb: So you have no personal life is what you’re saying.

VICTORIA: My personal life is very kind of small and private with my loved ones, most of which are on the East Coast.

jmb: I thought you were going to say, “Most of which have four legs.”

VICTORIA: Right. (Laughs.)

jmb: ”I have many small furry animals that live with me.” (Both laugh.)

VICTORIA: Yeah, well, I’m currently residing in Hollywood. However, I do go back and forth to New York City where my family is. And so my private and personal time is with them and my good friend. And other than that time I’m always working. (Laughs.)

jmb: And where do you sort of see yourself going. I mean, you know, one does that. “And this is where I want to be in five years.” Do you have a where you want to be in five years?

VICTORIA: Oh, yes …

jmb: I thought you might.

VICTORIA: …specifically where I want to be in five years. I’ve been very fortunate to be reading for characters on films in the five to ten million dollar budget range, which has been a nice progression for me. Most of the films I’ve worked on have been made for 1.5 and under. And so I’m progressing into the bigger budget films. I’d love to have some day player roles in the studio projects and move on to the starring roles in those – that’s where I started in the B genre. And it’s been a progression moving up. But I have a very specific plan for five years. Actually, there are two features I want to make back to back. Let’s just say one is based on a book. The other is an original idea. And they’re both individually about two different women in different time periods and different professions in the entertainment business. Yet they’re different – under the same umbrella of entertainment, but they’re different. One is an actor/singer/dancer. The other one is a singer, a pop star. So two different women of two different times who became icons in their era. And I have a writer that I am talking to about the first draft of the first feature, so I’m looking forward to beginning that.

jmb: And do you have a following now in your Scream Queen role?

VICTORIA: I do.

jmb: Do you get a lot of hits on your site?

VICTORIA: I do and it’s amazing. And the opening of my site is a note to my fans about how much I appreciate their continued support and encouragement. I get fan mail. Fan email and fan mail. People joining the Victoria De Mare fan club. And it’s overwhelming. It’s very moving to read these letters from the UK and Denmark and Pennsylvania and Virginia and all over the world, basically. And I hand write back to all of them. I’m sure if it comes into a moment where it’s just too many and I’m not able to do that, I’ll make do. But I do have a following and it’s humbling and it’s amazing and I love the people that love to watch me.

jmb: Great. Good. Thank you very much.

VICTORIA: You’re welcome.

http://screamqueendemare.com/

www.bioslimethemovie.com/

Current Releases:

Psychon Invaders

Shadows

Azira: Blood From The Sand

Upcoming Releases:
Stolen Moments of September
Existing Releases:
Werewolf In A Women's Prison
The Gram Parsons Project
The Video Diary

AddTime:  2007-11-18 14:13:21
Count:  1559
Keywords:  scream, queen, victoria, demare, werewolf
Average Rating:  0