|
Your new movie
In the Grip of Terror - in a few words,
what's it about, and whyt can you tell us about your character in it?
In the Grip of Terror is a retro horror anthology that leans into
atmosphere, psychological tension, gothic horror and occasional
moments of fun and humour as well. The film explores a series of
unsettling stories, each centred on characters who find themselves
caught in disturbing and often dangerous situations that twist and
challenge their sense of morality. Throughout the film there is a
creeping sense that something is terribly wrong, even when everything
on the surface seems perfectly ordinary. My character, Nurse
Charlotte Gibbon, is someone who becomes entangled in that web. She is
intelligent and perceptive, but she is also navigating fear, doubt and
the pressure of not knowing who, if anyone, she can trust. What I
loved about playing her is that she is not simply reacting to events.
She is constantly trying to understand what is happening around her
and find the strength to confront it. She is layered, emotional and
also very human, which made the role both challenging and incredibly
rewarding to explore.
How much Megan Tremethick can we find in Nurse Charlotte?
There are certainly a few small pieces of me in Nurse Charlotte. Like
her, I can be quite shy and a bit awkward, especially when first
meeting people, and I think we both share a kind of earnestness at the
beginning. She approaches things with sincerity and a genuine desire
to do the right thing, which is something I relate to. We also
share a very human fear of death. That awareness of mortality is
something that quietly shapes how Charlotte responds to the world
around her, and it was something I could easily connect with on a
personal level. Beyond that though, she is very much her own
person. Once the story unfolds she finds herself in situations far
more extreme than anything I have experienced, so much of the journey
for me was about stepping into her circumstances and imagining how
someone like Charlotte would cope.
What can you tell us about your proparations for your role?
For Nurse Charlotte I spent quite a bit of time thinking about who she
was before the story begins. I wanted to understand her background,
her sense of duty and what might have drawn her into nursing in the
first place. That helped me find the sincerity and quiet determination
that sit at the core of her character. I also thought carefully about
her emotional state throughout the film. Charlotte begins the story
quite earnest and composed, but the circumstances around her gradually
become more unsettling. Preparing for the role meant mapping that
emotional journey so the shifts in her behaviour felt natural and
believable. Because she is a nurse, I also paid attention to
the practical side of the role. I wanted her movements and mannerisms
to feel as authentic as possible, so I focused on how she would carry
herself while caring for patients and interacting with the people
around her. Another part of my preparation was working on a received
pronunciation accent that would feel appropriate for a British actress
in the 1970s. I spent time refining my cadence and tone so that it
felt natural for me and consistent with the period, which helped me
settle further into the character.
In the Grip of Terror is
the first anthology that film studio
Amicus [Amicus
hhistory - click here] has made in over 50 years - so did this at
all ring special with you, and what does this legendary production house
mean to you personally?
It did feel very special to be part of it.
Amicus has such a wonderful
legacy within British horror, particularly with their anthology films,
so the idea of stepping into that tradition was so exciting... and a
little bit terrifying if I'm honest. I have actually been a fan
of
Amicus since I was about ten years old. My dad introduced me to
The
Vault of Horror, and I remember being completely mesmerised by
it. Those anthology films have such a distinctive atmosphere and
storytelling style, and they stayed with me from a very young age.
Because of that, being involved in a new anthology connected to
that legacy felt very meaningful to me personally. It felt like a
lovely full circle moment, from discovering those films as a child to
now being part of something inspired by that same tradition.
Do talk about
In the Grip of Terror's
director Lawrie Brewster, and what was your collaboration like?
Lawrie and I have worked together on quite a number of projects
over the years, so by the time we came to
In the Grip of Terror there was
already a very natural rhythm between us. That familiarity makes the
process feel very easy and comfortable, because there is a level of
trust and understanding that has built up over time. As a
director, Lawrie has a very clear vision for the atmosphere and tone
of a film, particularly when it comes to gothic horror. At the same
time he gives actors the space to explore their characters, which I
always appreciate. It creates an environment where ideas can develop
naturally. Because we have worked together so often, communication on
set tends to be very instinctive. We both understand the style of
storytelling we are aiming for, which makes the creative process feel
very effortless and enjoyable.
You*ve worked with director Lawrie Brewster before - so what
can you tell us about your prefious collaborations, and how did the two of
you first meet even?
I first met Lawrie Brewster and Sarah Daly, who co-runs the company
with him, along with cinematographer Michael Brewster, at the Cannes
Film Festival a good few years ago now. I had gone to Cannes on my own
for a few days because I had always wanted to visit the festival and
was very curious about it. Lawrie happened to be sitting in the
British Pavilion listening to an industry talk, and I ended up sitting
next to him. I then realised that I had actually seen one of his
films, The Black Gloves, and had even backed it
on Kickstarter, so I introduced myself. He very kindly
introduced me to the rest of the team, and the rest is history. The
first film I worked on with Lawrie, Sarah and the team was the fantasy
film Dragon Knight.
After that I travelled back up to Scotland to work on a supernatural
horror film written by and starring Tom Staunton. Since then I have
become part of the core team and we have worked on many projects
together, including The Vance Institute, The Slave and the Sorcerer,
The Reign of Queen Ginnarra and now
In the Grip of Terror, with several
more still in post-production.
 |
Back to
In the Grip of Terror:
What can you tell us about the shoot as
such, and the on-set atmosphere?
The shoot had an atmosphere that was very intensely focused, but also
very supportive. You could tell that everyone understood and respected
the legacy of classic
Amicus öroductions, and there was a real desire
across the team to do it justice. That doesn't mean we didn't have
fun. We certainly did! One of the most fun moments for me was the
dance scene near the end of the film. I won't spoil it, but it's
pretty wild!
Any future projects you'd like to
share? My directorial feature debut, my ASMR
horror film Spoiling You,
recently had its world premiere at Romford Horror Film Festival in
London. I am incredibly grateful to the festival's team for hosting
the premiere and giving the film such a wonderful platform. It felt
very surreal finally sharing the film with an audience after spending
years working on it, and I was so grateful for the reception it
received on the night. I am extremely proud of what our whole team
achieved together. What got you into acting in the first place,
and did you receive any formal training on the subject?
I was painfully shy in primary school, but I started taking
part in school plays and developed a real love of musicals. When I was
around ten years old I entered the school talent show singing a song from
Cats. I remember actually feeling confident for once, and so
fulfilled after the performance that it really gave me the bug for
acting and performing. I trained up to a BTEC diploma in Acting,
Musical Theatre and Dance, although I didn't go to drama school or
university. In a way that has changed a little recently. I took
a short course at the Royal Academy of Dramatic Art and absolutely
loved it. It was a bit of a dream come true to study at RADA, even if
only for a short time. Our teacher Suzanne was wonderful and went
above and beyond to make sure each student got the support they needed
in their work. I would love to return in the future and take more
courses there.
 |
On several
occasions, you're also tried your hands on writing, directing, producing
and whatnot - so what prompted that step for these projects,
and which side of the camera do you actually prefer?
I prefer acting, but I think if I was only turning up to perform a
role with no other creative input, I might struggle a little. I am
currently used to (and grateful for the privilege of) being involved
in different aspects of the process. Sometimes that means designing or
even making my own costumes, doing my own make-up, or contributing
ideas about character and atmosphere. That curiosity about the
whole creative process is really what led me to try writing and
directing as well. I discovered that I genuinely love directing, and I
enjoy writing too, although I tend to prefer writing prose over
scripts. There is something very satisfying about shaping a story and
guiding a project from the very beginning. At the same time,
directing and producing also are huge responsibilities and can take a
long time to see through from start to finish. Because of that, I
think I will probably only take on those roles in the future for
projects that feel very special or personal to me. Acting will always
be my first love, but having the experience of working on both sides
of the camera has given me a much deeper appreciation of the
filmmaking process as a whole.
How would you describe
yourself as an actress, and some of your techniques to bring your
characters to life?
I'd probably describe myself as an actress who relies a lot on
imagination. I tend to approach a character by really trying to
understand their inner world, what has shaped them, what they want,
and what fears or secrets might be driving them. Once I feel I
understand those things, the character begins to feel much more alive
and instinctive to play. My preparation often involves building a
detailed picture of the character’s life in my imagination. Even if
certain details never appear in the script, it helps me feel grounded
in who they are and why they behave the way they do. I find that once
you fully empathise with a character and understand their perspective,
even their darker or more extreme choices begin to make emotional
sense. Depending on the role, I might draw on personal emotions or
experiences if there is something I can genuinely relate to. If the
character feels quite far removed from me, I rely more on imaginative
work to fill in those gaps and explore their mindset. I also enjoy
studying the tone and style of the world the film belongs to,
especially when working in period or genre pieces. Looking at the
performances and physicality from the era or style a film draws from
can really help shape how a character moves, speaks and carries
themselves within that world. Ultimately, my goal is always to make
the character feel human, even within the heightened worlds that
horror and fantasy often explore.
Actresses (and indeed actors)
who inspire you?
There are quite a few actors who inspire me. I have always admired the
emotional intensity and classical presence of Vivien Leigh and the
fascinating, often mysterious performances of Charlotte Rampling. I
also love the elegance and charisma of Britt Ekland, as well as the
strength and versatility that Helen Mirren brings to her roles.
Because I have such a love for classic British horror and gothic
cinema, I am also very inspired by performers from that world. Hazel
Court had such a wonderful screen presence in those films, and of
course the work of Vincent Price [Vincent
Price bio - click here] and Peter Cushing has always been
incredibly influential to me. Your favourite movies?
For some reason, when I'm asked this, I instantly cannot think of a
single film. So I'll refer to a list I keep of a bunch that I adore:
The Changeling (1980),
Deep Red (1975),
Tenebrae (1982),
The Bird with the Crystal Plumage (1970),
Suspiria (1977),
Audition (1999),
Theatre of Blood (1973),
A Nightmare on Elm
Street (1984),
Asylum (1972),
Child’s Play (1988),
The
Vault of Horror (1973), The Innocents (1961),
Tales from the
Crypt (1972), Carrie (1976),
The Evil Dead (1981),
Halloween (1978),
The Shining (1980),
The Devil Rides Out
(1968), House of Usher (1960),
Lake Mungo (2008),
The
Wicker Man (1973), Phantasm (1979).
... and of course, films you really deplore?
I personally feel like there's enough negativity in the world already,
so I don't really fancy adding to it by listing films I hate. Every
film takes a huge amount of work and people's lives to make, so I
would much rather just celebrate the ones I love. That said, obviously
people can absolutely say what they like and express their opinions,
and who knows, perhaps my own view on that might change one day.
Your website, social media, whatever else?
You can find more about the work we do through the British Horror
Studio Patreon, where we share updates and behind the scenes content
from our projects:
https://www.patreon.com/britishhorrorstudio/home.
I am also fairly active on Instagram, where I post regularly about
my work and upcoming films: https://www.instagram.com/megantremethick/
Thanks for the interview!
|
amazon.com
amazon.co.uk
amazon.de
eThaiCD.com
