After speaking to her briefly last year for the release of her then-latest film Sweet Taste of Souls, this time for Women in Horror Month I'm pleased to talk more in-depth with actress Honey Lauren about her early work on made-for-TV thrillers, working on the Vice Academy films and her own directorial efforts.
Me: Hello and thank you again for agreeing to return! What have you been up to since last we spoke?
Honey Laruen: Hi There! Thank you so much for having me back! That’s so lovely!
I’ve been well… It’s been all about adjusting still to a life during COVID. I live in LA and most productions are down now, union productions… But still much work has been coming in for all kinds of remotes shoots. It’s been absolutely dazzling to see how people zig and zag during this time.
I have a remote voiceover booth and there’s been a huge need for that. I’ve voiced, films, commercials, video games, it’s been crazy. Also, lots of remote film and commercial shoots. I, along with most of my peers have had to learn a lot about lighting and shooting… it’s been challenging but fun.
Also, my film WIVES OF THE SKIES is now on PRIME and VOD Worldwide thanks to my distributor, Hewes Pictures!
Me: Some of the early roles in your career were in made-for-TV thrillers. What are some of your earliest memories working on these projects?
HL: Oh, those were awesome projects to be a part of. I literally have some of the best memories on those. Made-for-TV movies or as they were called, MOW, (movies of the week), were usually thriller scripts, as you said, and that were shot in like two weeks and had huge budgets. Oftentimes, television stars would star and be producers on them and they were wonderful. There were always tons of roles in them so they gave a whole lot of people work, all-union and the scripts were really pretty good! I worked with Suzanne Somers on one particular one called EXCLUSIVE, I’ll never forget because they had to make rain for my scenes. And if you ever worked with man-made rain, you understand how that’s a pretty unforgettable event.
Recently I did a MOW for Lifetime Movie network called HOUSE OF DARKNESS. It was so great, such a throwback. I wish they would do more of these.
Me: Given the dramatic nature of these roles compared to more traditional genre shoots, what tools and skills do you acquire working on those that transferred to feature-film projects?
HL: That’s such a good question… Doing these MOW’s was literally like doing mini features. The biggest difference I would say was the time element. As I mentioned, we were cranking these out in two weeks so we had to move really quickly. I remember there being second and third units on these sets, multiple sets going at once in multiple locations, oftentimes so close you can walk to them… So, things moved super quickly and you had to be ready. It was like “actor-camp”… It was such good training. It was a lot like the soaps, (soap operas).
Me: Among your first notable genre film was “The Evil Inside Me” where you worked with Roddy McDowell and George Lazenby. Do you have any fond recollections of working on that?
HL: THE EVIL INSIDE ME, really was so crazy, fun!
So, I was originally cast in one role and soon after they called and put me in a slightly larger role… THAT rarely happens, but I was thrilled. It’s a period piece, the 1920’s, so the costumes were incredible. Roddy McDowell, George Lazenby and Sage Stallone were a joy to be around… The film was shot in Ventura California, one of my favorite places, just outside of LA county, about an hour from me. We shot in a gorgeous Victorian house, and everyone was so good on that shoot! Wow, these actors were awesome and looked awesome, it was like stepping into another world… I will never forget... The production put us all up in a cool hotel right there by the ocean. It was great.
One of the things that made this film so fun was that I used to go to Ventura County for weekend getaways often. They had the best Main street and shops… So shooting right there was such a treat.
Me: From there, you worked on several of the ‘Vice Academy’ sequels as either Tiffany Berkowitz or Monique McClure. Were you a fan of the franchise prior to being involved yourself?
HL: I have to tell you, prior to working on the Vice Academy films, I had worked with the director, Rick Sloane on GOOD GIRLS DON’T. I hadn’t seen the Vice movies until I had worked on them… I do know that they were very popular in the prison populations and we would get fan mail from there… Once I was cast in the first one for me which was Vice Academy 4, I went back and watched them all. They were so funny. I love Ginger Lynn and thought she was really good in them! I loved that Rick hired porn stars to play the leads in this series. It was a way for them to crossover into legit films. Many of the cast members, including myself, who were legit actors, (non-porn), we gave ourselves porn names in the credits… Mine was Honey Smaxx…
Me: What was the working relationship with director Rick Sloane like to keep you coming back to work on the next films in the series?
HL: Aw, that’s easy… I love and adore Rick Sloane. He has so much energy and watching him work is such a treat. He’s a genius. His stuff was funny, silly and strangely adolescent. The “sexy” scenes were all so child-like as if from a 12 year-old, boy’s perspective. It was so fun and timeless. I always ask Rick to make more films!!! I still remember auditioning for Rick, the first time we met… He’s amazing. AND… fun fact… Rick and I went to the same Jr. High school.
Me: In addition to your acting career, you also wrote and directed the shorts “Dot Got Shot” and “Happy Hands.” What inspired you to tell these stories as a director?
HL: Dot Got Shot is a derivative of a feature I wrote entitled, I SHOT DOT. I was very, very close to getting I Shot Dot made, Melvin Van Peebles was to direct and Mario Van Peebles was an EP on it. This script is a sexy, exploitation crime genre film and I was to play the title role. It was very exciting. William Morris was packaging it Johnny Rzeznik told me he was going to do the music… a dream… so when things went sadly south, didn’t come to fruition, I decided I would write the short and I got the funding and made it myself. It went on to be a festival darling winning many awards.
HAPPY HANDS was a crazy thing… As Alumni from NEWFILMAKERS LA, I was asked to pitch my best LA story for possible funding through the visitor’s bureau. I was always fascinated with all the Vietnamese Nail places here in LA and I did a little research and the origins of the Vietnamese nail industry were amazing and involved Miss Tippi Hedren. I pitched the idea, which was not funded but soon after someone else came in with the funding. This film won tons of awards, won Tippi some humanitarian awards and HAPPY HANDS was qualified for an Academy Award.
Me: You also mentioned writing and directing the recently-released short “Wives of the Skies.” Have you been surprised by the response to it now that it’s been released?
HL: I must say I am blown away and grateful for the reception of this film. I thought it would get a lot of interest but I couldn’t predict the level of success it has had. It’s won more than 40 film awards, has been written up and reviewed probably more than any short ever has and has worldwide distribution. It’s crazy. I’m so grateful. And it’s bittersweet… It was released in festivals three weeks before the pandemic hit. Perhaps later this year we can get it to some live festivals. But It’s cool it’s played at drive-ins and all kinds of safe venues all around the world.
Again, I’m so grateful for the response and support. WIVES OF THE SKIES has gotten me a lot of work as well.
Me: What else are you working on that you'd like to share with our readers?
HL: I’m doing lots of commercials in the pandemic, mostly remote and Voiceover jobs for commercials, websites, video games, you name it. All remote.
I recently booked a hosting job for a Youtube channel that is SO fun. It shoots remote as well and it’s the best channel. It plays 80’s commercials and promos, it’s a hoot! It’s called Yard Lion Rew!
I have a few films coming out… LYLA by director Gordon Cowie, he’s amazing! His work is so absolutely beautiful… And I’m in the feature, NIGHT VADER, directed by the amazing Damon and Paul McCarthy… working with them was one of the most incredible experiences I’ve had and I’ve had the good fortune to work with them for many years… Also, I have a novel coming out in early 2021, it’s called MISTAKE and based on a feature script of mine and lastly, I’m in the process of writing a feature with the very talented Jon Niccum. It’s a Western we’ll start filming in 2021 in Kansas City, I’ll be directing.
Me: Lastly, being that this is Women in Horror Month, what special message do you have for any women out there looking to join in the industry in any capacity as you are one yourself? Thank you again for your time!
HL: I would tell anyone wanting to work in the film industry is to always, always do your best work. Find the joy in your work, have a good attitude and always be kind. People really respond to kindness. I understand that this is still a male-dominated field, but if it's something you really want to be a part of, work hard and be ready! Also, don’t be afraid to reach out to people for help.
This interview ran as part of our Women in Horror Month celebrations. Click the banner below to check out all of our reviews and interviews about the occasion:
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