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An Interview with Debbie Rochon, Star of Bloody Ballet

by Mike Haberfelner

November 2018

Films starring Debbie Rochon on (re)Search my Trash

 

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Your new movie Bloody Ballet - in a few words, what is it about, and what can you tell us about your character in it?

 

Bloody 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 Dr. Cassinelli?

 

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.

 

With Bloody Ballet being wildly reminiscent of classic Italian giallo movies, is that a (sub-)genre you're also fond of in your private life?

 

Yes, 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.

 

What can you tell us about your director Brett Mullen, and what was your collaboration like?

 

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.

 

Doom Room

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 share?

 

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 that one!

 

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Anything else you're dying to mention and I have merely forgotten to ask?

 

Just a massive thank you for your support of independent art. It's deeply appreciated and has not gone unnoticed by the artists. Thank you.

 

Ever so welcome of course, and thanks for the interview!

 

© by Mike Haberfelner


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On the same day
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A Killer Conversation

produced by and starring
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directed by
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written by
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starring
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