A celebrated writer, director, and producer among other prominent roles in the industry, filmmaker Brooke H. Cellars has seen her work with Warped Witch Cinema blossom into a fruitful collection of short films before their feature-length debut "The Cramps" that is currently in the crowdfunding stage. Now, in honor of Women in Horror Month, I talk with her about her early interest in filmmaking, working on the company's past shorts and some upcoming plans.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror in general?
Brooke H. Cellars: I don't think there was a specific moment when I decided to delve into horror; it was always something that fascinated me from an early age. I was the odd kid drawn to peculiar things, sometimes feeling isolated in my interests. I didn’t know many people who shared my passion for horror movies, but when I did find them, there was an instant connection. For me, horror encompasses a variety of elements: the dark, the macabre, the blood, the guts, the unease, the disturbing. Yet, I also find beauty, healing, catharsis, and comfort within horror. It's an intriguing genre that fosters connections with others, allowing individuals who may not feel comfortable expressing certain thoughts outright to subtly reveal their darkness, knowing others can observe and understand without judgment. Moreover, horror can be enjoyable, inducing laughter and providing entertainment and thrills.
Me: What films specifically got you into watching horror movies?
BHC: Gosh, I think the first horror movies I remember just watching all the time were 'A Nightmare on Elm Street Part 3' and 'The Lost Boys' for sure. We rented those from the video store along with a VCR all the time. If you asked me today, so many. So So many. My favorite movie of all time is ‘May’ by Lucky McKee. Then I would have to say ‘Night of the Demons’, ‘House of 1000 Corpses’, ‘Martyrs’, ‘Climax’, I Spit on Your Grave...I could go on forever and ever.
Me: When did you first discover a passion for filmmaking? Were you always interested in the creative arts growing up?
BHC: I've always had a fascination with horror movies, but my passion for creating my own film ignited during my childhood. I believe it all began when I watched 'The Making of Michael Jackson's Thriller' documentary. Watching the behind-the-scenes process, particularly the practical werewolf makeup fx, left me spellbound. My father, a children's book writer, early on instilled in me the art of storytelling. Drawing from my love for horror, I naturally gravitated towards writing weird and dark stories. I was even recognized in high school as ‘most talented’.
Me: Having worked on various aspects of film production, do you have any particular preference for working on any?
BHC: As a writer and director at heart, my primary focus has always been on crafting stories and bringing them to life on screen. However, if given the opportunity to collaborate on other filmmakers' projects, my passion lies particularly in production design. From the outset of my journey in filmmaking, I knew my ultimate goal was to direct, but I took it upon myself to learn every aspect of the filmmaking process, from cinematography to editing and special effects. Over time, I've learned to delegate tasks to avoid spreading myself too thin, but one role I find difficult to relinquish complete control over is production design. Building immersive worlds and bringing my vision to life is a deeply fulfilling aspect of pre-production that I enjoy so much!
Me: As a major driving force in the production company Warped Witch Cinema, what initially inspired you to become involved in the company? What do you provide for others through your work?
BHC: I've built my company from the ground up, starting in 2018, and over the years, I've collaborated with a diverse range of individuals, both new faces and familiar ones. Throughout this journey, I've gradually discovered like-minded individuals who share the same level of passion and dedication as I do. These are the individuals I envision working with indefinitely. Finding such kindred spirits in the industry is a rare and invaluable treasure, and I feel incredibly fortunate and grateful to have found them. We embrace the weird, the strange, the unorthodox, and the unconventional. Our team is dedicated to showcasing the unique voices and perspectives of underrepresented filmmakers in the film community. We strive to bring together a diverse range of talent from all aspects of filmmaking to create compelling and thought-provoking films.
Me: How much involvement do you have with the rest of the production team bringing your films to life? What is the early life of these films like?
BHC: When it comes to making short films, the responsibility often falls mostly on my shoulders. From conceptualization to execution, I take charge of just about every aspect, from writing the script to assembling the team and ensuring that every task is completed. The fate of these films rests on my determination; if I were to give up, the project would cease to exist. In the initial phases of our short film productions, I collaborate closely with our assistant director, Madeleine Yawn, who assists in breaking down the script, creating budgets, crafting the shooting schedule, and preparing call sheets. Following this, I team up with our director of photography, Levi Porter, as we meticulously design the visual aesthetics, develop storyboards, and determine the shot list. It's a tight-knit trio dedicated to bringing our cinematic visions to life. However, with our venture into feature filmmaking, I'm immensely grateful for our expanded pre-production team! We've assembled a group of five producers, a specialized special effects team, a talented production designer, and a host of other passionate and skilled filmmakers who are all integral in bringing our feature film to fruition.
Me: When writing a new project, what’s the one fall-back tactic that you’re always able to draw inspiration from?
BHC: To fully immerse myself in the style and atmosphere of each project, I take on a holistic approach. Take, for example, our film that we are in pre-production for now, The Cramps. I’m delving into films with a similar visual aesthetic that I am envisioning the film to take on, absorbing their look and feel. I’m curating playlists with music that brings the desired vibes. Beyond that, I have transformed my office space into a physical manifestation of the world I want to create, surrounding myself with imagery and objects that reflect the essence of the story. Even my attire sometimes aligns with the project, as I put together outfits in a manner befitting the characters and setting. It's about more than just imagining the world while writing the story; it's about living and breathing it, envisioning every detail and nuance to bring the narrative to life to the fullest!
Me: Being the writer, director. editor, and producer of these shorts, does it still challenge you to be involved in various capacities at once on a project like this? How do you balance those priorities during a shoot?
BHC: I am the constant presence from the inception of an idea to the moment our film is released into the world, and beyond. Every step of the filmmaking journey bears my imprint, and I wouldn't have it any other way. While I don't consider myself a perfectionist and thrive amidst chaos, I do demand complete control over the creative elements of the process. It all starts with the writing. Even as I pen down the script, I'm simultaneously editing in my mind. What will cut? What won’t cut? I envision the shots for each scene, considering how they'll contribute to the overall vision. What approach will I take in directing actors to elicit the desired emotions? What will I add to the intricacies of set design, ensuring continuity and coherence? It's a seamless integration of tasks, each informing the other, all beginning with the spark of the idea. Immersing myself in every facet of filmmaking not only enriches my skills as a writer, editor, and director but also deepens my understanding of the craft, allowing me to evolve and refine my approach with each project.
Me: What do you recall about your experiences shooting the first short “Ivy?”
BHC: My adventure into filmmaking began as a childhood dream, seemingly unattainable for almost my whole life. It wasn't until I was 35, following my first surgery for endometriosis, that I decided to pursue my passion. Initially enrolled in college for Art Education, a serendipitous discovery of a newly offered film major led me to swiftly change my major. At the age of 37, I finally found myself on my first opportunity into filmmaking as part of a class project. Despite my lack of experience, I eagerly volunteered to direct, though I didn't have the opportunity to technically write the screenplay. Nonetheless, I contributed the storyline and took charge of the editing process. Shot at my own house over a standard 12-hour day, that initial project served as a baptism by fire and blood, teaching me more about what not to do than what to do.
Dissatisfied with the conventional teaching methods I encountered and fueled by a desire for creative autonomy, I set out to make my next film, "The Chills," entirely on my own terms. Drawing from one of my earliest screenwriting class scripts, an assignment that challenged us to write little to no dialogue. Initially planning to handle all aspects of production solo, I welcomed the unexpected support and enthusiasm of classmates who joined the project. This collaboration marked the beginning of an amazing partnership, particularly with AD Madeleine Yawn and DP Levi Porter.
In a crazy 8-hour shoot, we transformed my home into a makeshift studio, fueled by collective passion and a shared love for the craft. Despite the challenges, it was an exhilarating experience—one that solidified "The Chills" as one of my most cherished projects to date. It's a testament to the power of creative freedom and collaboration, reminding me of the joy and fulfillment found in pursuing one's dreams against all odds.
Me: Moving on to other projects like “The Chills,” “Halloween Candy” and “Pumpkyn,” what tools and skills do you acquire working on those that transferred to future film projects?
BHC: I always knew my lack of confidence and experience would try to hold me back from growing in the film world. The passion and desire was never a problem. Those shorts definitely served as my true film school education and therapy. They provided invaluable lessons in every aspect of filmmaking. They were fun as hell to make too! As a director, they taught me the importance of effectively communicating my vision and expectations to others, fostering greater confidence in articulating my creative desires and trusting in the validity of my ideas. Through trial and error, I discovered the collaborators whose synergy elevated the creative process and identified areas for improvement in future projects. Each production was a step towards my dream, guiding me toward a deeper understanding of where I want to be in getting to tell my stories through the arts of film.
Me: Your most recent short Is the award-winning “Violet Butterfield: Make-up Artist of the Dead.” What can you tell us about it? Where did the inspiration for the film come from? Were there any unique stories about its conception? What was the set like while shooting the film? How did the cast and crew react to the type of film being made?
BHC: Creating "Violet Butterfield" has been an absolute highlight and a surreal ride so far. The initial spark of inspiration was ignited by "Death Becomes Her," particularly Bruce Willis' character. I envisioned expanding on the concept of a character with the unique ability to mend the injuries of others in the afterlife, weaving in elements reminiscent of the Bride of Frankenstein, but with a fantastical twist—a mortician beautician.
In writing the script, I envisioned a vibrant, technicolor world reminiscent of the 1960s. When I shared my vision with our DP, Levi, he immediately suggested shooting on 16mm film to capture the desired aesthetic. Though initially nervous about directing on film, I embraced the challenge wholeheartedly. The result was nothing short of magical; not only does the film exude visual splendor, but the experience on set was by far unlike any other. Freed from the constraints of constantly monitoring a digital monitor, I was able to immerse myself fully in the performances of the actors, trusting Levi implicitly to bring our shared vision to life.
We spared no effort in submitting "Violet Butterfield" to numerous festivals, though budget constraints limited our submissions. Nonetheless, the film received widespread acclaim, screening in over 30 festivals and snatching up several awards, including Best Production Design at the Renegade Film Festival, Audience Award at Final Girls Berlin, Best International Dark Comedy at Lusca, Best Director at Houston Horror Fest, Jury Award & Audience Awards at Overlook, among others. It has now found a home on ALTER! The world being the creator of Violet Butterfield has been incredibly surreal and out of this universe unbelievable. This short mirrors the fantastical nature of the films I aspire to create from here on out.
Me: Do you recall having any odd or funny on-set stories about yourself or any of the other cast/crew members?
BHC: Inviting interns from local high schools and colleges has been a fantastic addition to our team! During the production of "Violet Butterfield," we were fortunate to have two badass interns, Hope and Tyler, join us.
We filmed at my friend (production manager/set decorator) Matt Bourque's family camp, initially anticipating a quiet setting. However, we encountered unexpected challenges with sound, including the noise of a nearby guy operating a chainsaw. Additionally, the crazy birds in the area proved to be a constant annoyance, squawking at the most inconvenient moments.
Thankfully, our resourceful interns came to the rescue! Armed with pots and pans, they bravely ventured outside to bang those pots to scare off the disruptive birds, allowing us to continue filming in peace. Go interns!!
Me: What else are you working on that you’d like to share with our readers?
BHC: I couldn't be more thrilled to announce our next project, horror friends! After collaborating on eight short films, our team is gearing up to tackle our very first feature-length endeavor: "The Cramps: A Period Piece." Or shall I say Period Blood Piece? Brace yourselves for a fantastical blend of comedy and horror, delving into the monstrous pains that those with uteruses endure. Picture a mash-up of John Waters' irreverence, Federico Fellini's surrealism, and Mario Bava's atmospheric horror. We've just launched our crowdfunding campaign on Indiegogo, and the response has been nothing short of phenomenal! Drawing heavily from the style and world of "Violet Butterfield," we're thrilled to welcome back some familiar faces from our previous projects, including the talented Michelle Malentina (Violet Butterfield), Martini Bear (Shirley), and Wicken Taylor (Violet's Skin Adhesive Commercial).
With your support, we'll bring this wild and wickedly entertaining vision to life, pushing the boundaries of genre and storytelling.
Me: Lastly, being that this is our Women in Horror Movement, 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?
BHC: Despite significant progress in the film industry, the reality persists: it remains predominantly male-dominated. Despite efforts to spotlight women in film, they continue to be overlooked and undervalued, even when deserving of celebration and acknowledgment.
It’s more than crucial to shine a glittering spotlight on female filmmakers and raise awareness about their contributions to the industry. They deserve recognition, support, and opportunities based on their merit, not their gender. My hope is to help amplify their voices and pave the way for greater inclusivity and equality within the film community. ‘Wanting people to listen, you can't just tap them on the shoulder anymore. You have to hit them with a sledgehammer, and then you'll notice you've got their strict attention.’
This interview ran as part of our 2024 Women in Horror Movement celebrations! Click the banner below to check out our complete coverage:
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