NVF Magazine / New Voices In
Film & Fiction
October - December Issue

Hollywood 'Scream Queens' have been around since Mary Philbin, Brigitte Helm and Theda Bara captivated silent screen audiences in the 1920s. When Helen Cbandler screeched and swooned into the arms of Bela Lugosi in 'Dracula'(1931) - the first sound horror film - a new era of scream queens was born. And in every decade since, they have found new ways to fire our imagination and keep us coming back for more.

The scream genre developed in the 1920s through the science fiction era of the 1950s. But in the decades that followed, a new generation of screamers emerged. And, like their predecessors, autograph material for these queens of horror is available in a wide range of formats and prices.

              The 1960s: Genesis of the Modern Scream Queen

The modern scream queen - a woman just as comfortable screaming as making others scream, slammed onto the screen in the Italian-made Black Sundqy (1960). Her name: Barbara Steele. She was the first woman to become a horror star in her own right, ranking with the greatest of the Titans of Terror, until then an all-male bastion. Steele started a cult craze that horror film producers exploited all over the globe. A British journalist explained Steele's attraction: "She is the only girl in films whose eyelids snarl."

Following Black Sunday, the British-born Steele starred in The Pit and the Pendulum (1961), Castle of Blood (1962), Nightmare Castle (1965), The Long Hair of Death (1967) and Curse of the Crimson Altar (1968). With her exotic beauty, large dark eyes and cold laugh, Steele's screen persona oozed fear and seductiveness.

As close to a "Scream Goddess" as one can get, Steele is a must for collectors of horror autographs. Unfortunately, her signature is not common, and a SP can command $75 or more. A very private person, she seldom responds to mail requests. Your best bet is to search dealer catalogs. One scream queen that readers might overlook is the stuffed corpse of Norman Bates' mother in the Alfred Hitchcock photoslasher flick, Psycho (1960) - a truly disturbing film, even by today's standards. Janet Leigh and Vera Miles may come to mind first for the film (both have gladly signed through the mail), but it's "Mother" - as voiced by Jeanette Nolan, Virginia Gregg and Paul Jasmin - who rules the set as one of the most evil characters ever to haunt the screen. Gregg also gave voice to "Mother" in two sequels, Psycho II (1982) and Psycho III (1983). For the final chapter of the Bates saga, Psycho IV: The Beginning (1990), British actress Olivia Hussey played Norma Bates with maniacal gusto.

Across the Atlantic, Hammer Films continued to give us scream queens in Barbara

Shelley, Raquel Welch, Ursula Andress (as She in 1965), Veronica Carlson and Linda Hayden. Most of these ladies are excellent signers and will oblige requests through the mail.

The '60s also saw many veteran actresses re-making themselves as scream queens, most importantly Bette Davis in Whatever Happened to Baby Jane? (1962) and Hush Hush ... Sweet Charlotte (1965), and Joan Crawford in Strait- Jacket (1964). Both of these stars' signatures are available in various formats and prices.

Finally, like many a young boy in the late '60s, I would often rush home from school to turn on America's favorite Gothic soap opera, Dark Shadows. On my mind and breathless puppy love imaginings was actress Lara Parker, or even better, her evil witch-vampiress Angelique. Parker was the scream queen of television at that time. She may not have had as rabid a following as Barnabas, the 200-year-old vampire played by Jonathan Frid, but guys adored her ... from a safe distance, of course! Lara makes frequent guest appearances at conventions and Dark Shadows reunions. She is just as beautiful in person, and a beautiful signer as well!

                                 The 70s: Carry-on Screaming!

Hammer Films gave the world the sexiest and most seductive scream queen of all time: Ingrid Pitt. The Polish-born actress earned femme fatale fame as Carmilla in The Vampire Lovers (1970), followed by Countess Dracula (1971), The House That Dripped Blood (1972) and The Wicker Man (1973). A bright, energetic and accessible person, Pitt happily signs through the mail and at public appearances. Caroline Munro, another former Hammer starlet, carved out a niche for herself in such films as The Abominable Dr. Phibes (1971), Dr. Phibes Rises Again (1972), Dracula A.D. 1972, Captain Kronos- Vampire Hunter (1973) and The Devil Within Her (1975). Munro is difficult to reach, however her SIGs are common and priced at about $10.

The '70s produced several cormmercially-successful major studio horror films, some of which became cult legends. Unfortunately, the actresses who starred in them have had a tough time being remembered for anything else. A case in point is Linda Blair, best known as the possessed child in The Exorcist (1973). Sissy Spacek - a memorable terror in Carrie (1976) - has been able to avoid "scream queen" status by virtue of her Oscar winning portrayal of Loretta Lynn in Coal Miner's Daughter (1981). Joan Collins also might have been remembered primarily for her roles in B horror films like Tales from the Crypt (1972), Tales That Witness Madness (1973) and Empire of the Ants (1976), if Aaron Spelling hadn't "rescued" her with a juicy non-genre role on the TV series Dynasty.

Of the '70s scream queens who went on to stardom in more mainstream roles, Jamie Lee Curtis is still the "Queen of the Slasher Films." The daughter of actors Tony Curtis and Janet Leigh, Jamie Lee made her horror debut in John Carpenter's Halloween (1978). Following in her mother's Phycbo footsteps, Jamie Lee's acter perfected her screams while battling her deranged brother, bogeyman Michael Myers. She reprised her role in Halloween II (1981). Other scary JLC titles include the Fog (1979), Terror Train (1980) and Prom Night (1980). As a current megastar, Jamie Lee's autograph isn't cheap. While it has changed considerably from her early scream queen days - her once-legible full signature is now just three large initials with squiggly in between - expect to pay about $100 for a SP.

                          The 80s and 90s: The Splatter Queens

In the 1980s scream queens entered a bloody new age of make-up effects that took eye-gouging, limb-tearing and violent death by knife-wielding psychopaths to new levels. In a recent Scream Queen fan club newsletter, Theresa wrote of her most recent film, "There's blood, blood, everywhere! ... Did I mention there's blood?"

Three women have emerged as key screamers in the modern age of horror: Linnea Quigley, Brinke Steven and Michelle Bauer. All are outstanding signers, both by mail and at horror conventions.

Quigley rose to prominence in such films as Silent Night Deadly Night (1984), Return of the Living Dead (1985), Creepazoids (1987), Night of the Demons (1988) Pumpkinhead II (1993). She even produced her own exercise video, Linnea Quigley's Horror Workout (1989). Bauer, who also does lip prints for fans, is a desirable addition to any collection. Her film credits include The Tomb (1986), Beverly Hills Vamp (1988), Hollywood Chainsaw Hookers (1988) and Vampire Vixens from Venus (1995).

Stevens is a one-woman juggernaut of self-promotion, marketing herself not only as a scream queen, but also as a model, writer, producer and designer of graphic comics. Her credits include Slumber Party Massacre (1982), Haunting Fear (1990), Munchies (1992), Hybrid (1996) and the upcoming Victoria's Shadow (1998). Like Quigley and Bauer, she is always ready to play mainstream roles, but never looks down on the foundation of her career - horror. All three have helped popularize (and humanize) the gruesome goings on. "Prior to us," Stevens writes, "Nobody sat behind a convention table and chatted with diehard fans ... The history of horror B- movies is linked hand-in-hand with its cult stars' accessibility to the general public."

Other contemporary signatures worth collecting are those of Bobbie Bresee (Mausoleum), Adrienne Barbeau (The Fog, Creepshow), Barbara Crampton (Re-Animator and the recent Castle Freak), Alice Krige (Ghost Story), Heather Langenkamp of the Nightmare on Elm Street films, Traci Lords (Not of this Earth remake, the Tommyknockers and TV's Profiler) and Marilyn Burns (Texas Chainsaw Massacre).

Another must-have autograph is that of Sigourney Weaver. It is impossible to conceive of an Alien sequel without her presence. From fighting "Queen Aliens" to becoming the mother of one, Weaver is the embodiment of a true scream queen. Director Wes Craven's Scream and Scream 2 have spawned a new breed of scream queens in Neve Campbell and Courtney Cox - sassy, quick, world-weary and hip Generation X-ers who've watched just a bit too much television and too many horror videos. Again, many horror fans can't imagine a Scream 3 without them. As current fan favorites, Campbell and Cox are tough autographs to obtain. Your best bet is to catch them at a premiere or contact a reputable in- person dealer.

As long as there are horror films, scream queens will continue to express our communal anxieties by screeching their hearts out at the sight of a monster from "out there," or by preying on our worst fears. Whether they play the victims or victimizers, the scream queens enchant and captivate us.

                                                  The New Blood

The new millineum brought us a whole new breed of scream queens, including such notables as Nicole Kruex, Rachel Grubb, April Burril, Monique Dupree, Scarlet Salem, Brenna Lee Roth, Shannon Lark, Debbie Rochon, Tiffany Shepis, Michelle Tomlinson,Susan Adriensen, Brooke Lewis, and so many others it would take up a whole chapter just to post a list of names. These ladies have become the ''new blood'' of the independent horror film industry, making their mark not only in film but in our hearts as well. I was thrilled to have been a part of this book and any other book that they have so graciously agreed to take part in, and I wish them all nothing but the best in the future.

Special thanks to them all for their written responses to my questions about the life and times of a scream queen. Their candid answers exceeded all my expectations, and are much appreciated. Each of them is a class act!

Notable Films:
Bachelor Party In the Bungalow of the Damned

Chainsaw Sally

The Cellar Door

Killer Biker Chicks

Scream Farm

RetarDead

13 Hours In A Warehouse

The Blood Shed

Terror Overload

Trinity

Scream Farm

Under the Raven's Wing

Legend of the Red Reaper

Unholy Reunion

Zen: Hunter

                                          NVF Magazine Interview

                                                       With

                                                  April Burril

Good day to you, April. How have you been?

Very good, Dave – very busy!

I bet! It’s been awhile since we have chatted. What’s new with you?

Currently, we are in the midst of filming for our upcoming webcast sitcom – The Chainsaw Sally Show. It’s wonderful to be chopping folks up again!

Sounds great! How did The Good Sisters turn out? As well as expected?

Even better, I think. It’s not a fast-paced film, but it’s very original. I think it will appeal to both our “sally” audience as well as a new spectrum of horror and psycho-thriller fan. The film is a real exercise in paranoia and a huge step up in quality on all levels.

It was really a pleasure to have you in both of my previous books, Film Prodigies and Legends and Queens Of Scream. It wouldn’t have been the same without you. And Jimmy, too. How many interviews have you done over the years?

Lots. And lots…. And lots.

That man huh? What was it exactly that attracted you to the indie film industry to begin with? Just a genuine love for the horror genre, or wanting to see talented, unknown filmmakers get the exposure they deserve?

Well, both those things are factors, certainly. What drew me in was a natural transference from live stage to film. I’ve always been a horror fan, and same with Jimmy O, so what better genre to film in?

I hear that! Who all have you worked with over the years? As far as Scream Queens, I mean. There’s a new one popping up every day!

Hahaha – true enough. At least, there are a lot going by that title. I’ve been called a Scream Queen, and really don’t feel I deserve that crown…. BUT, I digress…. I’ve worked with a few great people. The fascinating thing is that the horror community is so close-knit that it’s sometimes only a matter of asking someone if they want to be in the film, as quite often, they’re people we’ve already gotten to know through more casual conversation.

So far, we’ve worked with Gunnar Hansen, Herschell Gordon Lewis, George Stover, Susie Lorraine, Debbie Rochon, and Amy Lynn Best. But there’s a list of other horror celebrities cast in future projects.

I always thought it would be neat to have you, Monique Dupree, and about five or six other first ladies of horror in ONE film, and give you all an unlimited budget, and all the time in the world to come up with a GREAT, UNFORGETTABLE horror film! How does that sound?

Let Jimmy O write and direct and I’m THERE!!

That’ll work! Or…maybe a documentary on indie filmmakers?! You and Jimmy could be the directors!

I don’t know – might be fun, but I think both of us have too much fun doing fiction. I’m still too much of a kid – all this “acting” is just me playing make-believe and dress-up. SOMEONE should certainly do that, though.

Do you still hope to be working within the film industry for many years to come?

YES! SOOOO FUN!

Yipee! Any last words of wisdom before you leave us for now?

Red jello, just barely set up so it’s still runny, not only makes neat looking fake-blood, but it tastes fantastic!

Okey dokey, then…

                                         NVF Magazine Interview

                                                           with

                                                   Nicole Kruex

Greetings and salutations, my dear. How have you been doing?

       Hello Dave!! I’m doing great!! Working hard to get The Story of Annie Kellister into production while promoting the efforts of my new partners in crime and balancing my acting career. It’s a difficult but fulfilling effort as always, and I’m learning every step of the way

I've been keeping tabs on you, and I see you have some new films in the works. The film In The Eyes Of Silence sounds interesting. Does this film tend to lean more toward psychological horror?

      In the Eyes of Silence is like my child, I’ve coddled and cooed it like a malformed demon child that is misunderstood and destined to be a lethal menace to society. I wrote the screen story almost two years ago basing it on a concept I had in my head for over five years previous. It’s most certainly a psychological thriller and has made a mark or two of it’s own on a few Hollywood heavyweights. Thanks to the talented efforts of two local authors, Joshua LeSuer and C.A. Bryers I was finally able to make the dream a reality. Now, it is in a pre-production limbo but I’m hoping to move back into full production sometime in 2010, the film is so beyond amazing… it deserves to see the celluloid.

Now, the film The Story Of Annie Kellister sounds as if it strays away from horror in general. You going soft on us? {Laughs}.

      Oh my, Annie Kellister. This immoral tale of enticing wonderment is equal to if not more disturbing then Eyes of Silence even wishes to be. Considering your assumption, our anonymity and lack of consideration to dispersing detail has weaved the blinding web we had hoped it would. Annie is my dirty little secret, and once finished I hope she will become a blemish on the face of indie film in a way that only the strongest of medication will erase the imagery we are prepared to display.

Now, your Dead Reckoning TV series sounds great! It's not your typical ''ghost-hunters'' plot though, is it?

      YES!!! No really, it IS in fact currently based on a team of investigators but the concept may change as the wrinkles are ironed out. Things are constantly changing in the industry, and as of late I’m finding myself less and less available so much so that there is a chance after launching the pilot I may have to take my leave. In fact it has been discussed to purely base the show entirely around it’s creator with just guest appearances… My only wish in the process is to see the show get off the ground because it’s creator Scotty Roberts has worked so hard to make his dream a reality, and from the start I was determined to do everything in my power to make that happen.

What's it like being behind the camera for a change? Quite a departure, isn't it?

      I truly enjoy it Dave, it’s a creative release that the confines of dialog written for me just can’t quite satiate. There is nothing like giving live to a story dancing in your head, providing it the right level of care to help it grow into something mature and practiced, the watching it manifest before your eyes as a series of images you were sure would only maintain their life in your head. Then you have the opportunity to share this vision with others, good bad or ugly, it’s a moment spent in your soul and that’s a rare opportunity shared.

What are the most important rules for indie filmmaking?

     When you think you’ve planned for everything, plan some more.

Ha! I heard that!Do you think the budget makes a big difference, or or do you feel that it depends on how well the filmmaker handles what budget they have to work with?

      The budget always changes the game, but the experience and preparedness of the filmmaker closes the deal. You can make the same movie on a 200K budget that you could make on an 800K budget, but you need the experience to know where to sacrifice and still come in under budget with a great product. You need to be a learned talent scout and cast the right people. You need to spend as much as you can on lighting!!! But most of all, you need to be a hustler… get what you can for free, make deals and search for bargains, but never sacrifice the quality of the final project.

Do you think that the indie film will continue to rise as a major force in horror cinema? I mean, it seems as though the big studios are churning out the same old crap, while indies are being much more creative.

      Indies have always been more creative, but we as peers in the industry of entertainment need to understand the those studio films have their place as well!! They are a source of inspiration, and a level of quality to aspire to. One thing Independent Filmmakers forget is that this medium, aside from serving as a source of creative expression, is still a business that is intended to generate income. Studio productions heavily weigh the pros, cons, and options available to them to best serve the public… they are not in the game to service personal expression. Much like radio play music, studio producers understand that the greater the demographic reach of their product (ie uncreative and formulaic) the greater the profit potential… original concept is a small price to pay for a $50M

return. =D

What's on the horizon for Nicole right now?

     Whew!! That’s a loaded answer, from the production of Annie Kellister, Eyes of Silence, Dead Reckoning, Diesel, and an unmentioned new comer Soldiers of Dresden to completing my roles in Funland, Zen: Hunter, Opposite Blood, All the Needless Killing, Whitey, Hayride and now Longwood? I’m booked with projects though fall of 2010, I may even entertain (as a co-director) a documentary showing at Sundance with a co-production team in New Mexico and take a trip to Miami and LA for a few music videos I’m facilitating.

The world around me has so many gifts, I only hope I’m deserved enough to receive them.

Any last words before you leave us?

     Gosh…. Is it really true that the Mongolian Death Worm aka. allghoi khorkhoi

can spray an acid like substance that causes death instantly AND has the ability to kill from a distance with some sort of super charged electrical charge emitted from it’s butt? Cause if so…!? I’m making a movie about it….guaranteed.

Thanks Dave for this amazing opportunity, I hope if nothing else it inspires new talent to reach as high as their dreams!!