With a career spanning decades, Brad Sykes has left an indelible mark on the world of horror cinema. Known for his distinctive storytelling and unique approach to the genre, Sykes has crafted a diverse portfolio of films that range from chilling horror to compelling drama. In this candid conversation, we delve into his creative process, the challenges of filmmaking, and the inspirations that have fueled his remarkable career. Join us as we explore the mind of a director whose passion for storytelling has captivated audiences and cemented his place in the pantheon of horror cinema.
Jessie Hobson: Can you tell us about the journey of bringing Scream Queen to its first-ever wide release on home video after being considered a lost Linnea Quigley movie for so many years?
Brad Sykes: The journey has been a long one…25 years if you consider we filmed the movie in 1998! For a few years after the shoot, the movie struggled through post, with several different editors, and I was left out of the process to a large degree. In 2001 or 2002, Scream Queen was finished and got some kind of minimal VHS release through WAVE Home Video, though I’ve never seen a copy. I thought that might be it for Scream Queen until 2012 when distributor LEO Films picked up the rights and told me they wanted to do a DVD release. So I recut the film, assembled some extras, even did a screening in New York…and then the company went out of business before they could release it. In 2020, I heard from Wild Eye, who wanted to release Scream Queen on Blu-ray through their new label Visual Vengeance. So, we did new extras for this release. Hoping this time it will actually happen… Thanks to Visual Vengeance, the movie is finally out there and fans can enjoy it…so this horror story has a happy ending after all.
JH: As an indie horror stalwart, what inspired you to create Scream Queen in 1998, and what led to the decision to finish it in 2002?
BS: When I pitched Scream Queen to producer Dave Sterling back in ’98, I was just starting my career. I came up with a concept that mixed Euro horror influences with some of my own experiences working in the business. I had made eight SOV movies before that, but this was my first ‘Hollywood’ movie and I wanted to make something that reflected my love for the genre, but also sort of poked fun at the types of people and situations you encounter on movie sets. I imagine Dave finished it with hopes of just getting it out there and making back his investment. But both post and distribution were handled poorly. I think it could have gotten a better release in 2002, given that Linnea was (and still is) a well-known ‘scream queen’ and I had made a few successful movies by that time like Camp Blood and Death Factory. Plus, it’s just a fun movie!
JH: The synopsis suggests Scream Queen takes swift jabs at the US independent horror movie scene of the 1990s. Could you elaborate on the themes and inspirations behind these satirical elements in the film?
BS: At the time I wrote the movie, I had worked in production on studio blockbusters (Kiss the Girls), microbudget action (Iron Thunder), and everything in between, including films for Full Moon and Brian Yuzna. So, I had a wealth of experience to draw from even at that early stage of my career, and I put a lot of it in the script. Since Scream Queen takes place in the low-budget horror world, I focused more on that, especially what I saw at the time, which was a lot of women promoting themselves as “scream queens” when they’d only been in one or two regional, super obscure movies. I thought that was a disservice to Linnea and other ladies who had been doing these films for years, so I put that in the film, along with other observations. Scream Queen is an SOV horror movie that makes fun of SOV horror, which I think was unusual at the time. Some have called it “the Hollywood Boulevard of SOV horror”, and while it’s different, I get the comparison.
JH: How did the collaboration with Linnea Quigley come about, and what was it like working with her on this project?
BS: I literally wrote the character in the script, “Malicia Tombs”, with Linnea in mind, but I didn’t think we’d actually get her. But thankfully my friend Courtney Joyner, who also has a small part in the film, made a phone call and set up a meeting between me and Linnea. It went well and after reading the script, she agreed to do it. I had a great time working with Linnea on the movie. In fact, many of my favorite memories of the shoot involve working with her, just hanging out before and after the shoot, and later directing a music video for her song “This Chainsaw’s Made for Cutting.”
JH: Considering the movie was shot on video in 1998, what challenges did you face during the production, and how did the technology of that time influence the overall aesthetic of the film?
BS: We shot the movie on a S-VHS camcorder, which belonged to the producer. So that affected the look of the film tremendously. There wasn’t much money for lights or professional sound equipment. We had about four days allotted for principal photography and just a few crew members. On some level, I was trying to make a much bigger movie than we were budgeted for. Part of that was my naivete, and part was just sheer ambition. I honestly think the budget should have gone up, to at least twice what we had, once Linnea signed on. But that wasn’t my call, obviously. I would’ve directed the movie the same way, but it would have looked better and had more time to do effects, etc. Looking at it now, I think we did the best with what we had to work with.
JH: The Blu-ray release includes a commentary with you, Brad Sykes, as the writer/director. Could you give us a sneak peek into the insights and anecdotes that viewers can expect to hear in the commentary track?
BS: Some of those stories I’ve already told you in this interview. There were plenty of other trials and tribulations along the way – and some fun stuff as well – but you’ll have to listen to the commentary (and watch the documentary on the Blu-ray) to find out!
JH: The bonus features, including the documentary “Once Upon a Time in Horrorwood” and interviews with Linnea Quigley and editor Mark Polonia, sound intriguing. What can viewers anticipate in terms of behind-the-scenes revelations and stories from the making of Scream Queen?
BS: “Once Upon a Time in Horrorwood” was produced through Nightfall Pictures, the production company I run with my wife/producer, Josephina. It’s a very comprehensive, half-hour doc during which I take you through the entire process of making the movie, from the script to its rocky journey to finally getting released. The other interviews are fun as well, and give other perspectives on making the movie. I had a hand in just about all the extras and it was nice to be so involved in the release of my first ‘pro’ movie.
JH: The Blu-ray also features the original producer’s cut of the movie. What led to the decision to include this version, and how does it differ from the final cut that is being released?
BS: That was my decision, and I included it for two reasons: to give fans every version of the movie I could provide, but even more importantly, to show how a movie can be “taken away” from a filmmaker in post and taken in a different direction. The producer’s cut is longer, with scenes added that were taken from some unfinished project. I would much rather people watch my cut, as it’s 100 percent my film, without any scenes from other people’s work stuck in there.
JH: The limited edition slipcase and other exclusive items like the Series 2 Video Store Rental Card add a unique touch to the release. Can you share more about the thought process behind these collectibles and their significance to the overall presentation of Scream Queen?
BS: I really had nothing to do with those collectibles, they were all Visual Vengeance’s idea, and as a collector myself, I think they’re great. I’m a big fan of the original art they created for the inner sleeve and the slip, which are different but each has their own appeal. In the past, I haven’t always had approval of the artwork or been happy with what distributors did, but in this case, I like it a lot.
JH: With the optional English subtitles and the attention to preserving the original tape elements, it seems like there's a commitment to providing a comprehensive viewing experience. How important was it for you to maintain the authenticity of the film in this Blu-ray release, especially for fans of the vintage Shot on Video genre?
BS: With a film like Scream Queen, you need to strike a balance between offering fans the best elements possible, without doing too much unnecessary clean-up. I think this release preserves the original look and sound of the film, the best it’s ever been, without losing the analog charm that these films have. I think SOV fans will enjoy seeing it, as it both typifies the genre while also satirizing it. And obviously, Linnea fans will be happy to finally see it after all these years, and learn the stories behind it, as well. Scream Queen is a unique movie, with a lot of horror, a little bit of humor, and plenty of screams.
Brad’s journey in the world of filmmaking is a testament to dedication, creativity, and an unwavering passion for storytelling. From the spine-tingling atmospheres of his horror films to the nuanced narratives of his dramas, Sykes has proven to be a versatile and dynamic force in the industry.
Through our conversation, we've gained a glimpse into the mind of a director who not only understands the intricacies of crafting compelling stories but also appreciates the collaborative nature of filmmaking. As audiences continue to be captivated by his work, one can't help but anticipate what innovative and thrilling projects Brad Sykes will bring to the screen in the future.
We extend our gratitude to Brad for sharing his experiences, insights, and artistic perspective. It's clear that his contributions have left an indelible mark on cinema, and we look forward to witnessing the continued evolution of his impressive career.