A talented and accomplished force in the industry whether in front of or behind the camera, Deanna Milligan has crafted a fine career working in a wide variety of positions and numerous genres. Now, in honor of the screening of her film "Lucid" at the 2025 edition of the Fantasia International Film Festival, I talk with her about her early interest in the industry, working on the film, and upcoming plans.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror in general? What films specifically got you into watching horror movies?
Deanna Mulligan: Thank you for including us! I’ve fallen in love with horror films at many stages of my life. My first horror experience was pretty early. I think I was maybe 9. Glimpses through my fingers, covering my face, I watched the faces melt off in Raiders of the Lost Ark. Then, after that, I rented video machines at sleepovers and watched the movie you rented as many times as you could before you had to return it. I was obsessed with all the Final Girls: Jamie Lee Curtis, Heather Langenkamp, and Sissy Spacek. In the 70s, a lot of films were about men, and it was in horror films that I found fearless, ass-kicking female characters.
Me: When did you first discover a passion for filmmaking? Were you always interested in the creative arts growing up?
DM: I started acting in film and TV when I was about 12 years old and worked steadily into adulthood. After having kids, and they were old enough to help, we made some short films together. Both of my daughters worked on LUCID and even have acting roles in the feature, which makes the project really personal. They both inspired a lot of story points in the film.
Me: Having worked on various aspects of film production, do you have any particular preference for working on any?
DM: I am so happy being a director. I love actors. I really love directing actors on set. I value my experiences as a working actor and the diverse approaches that directors had in various budget levels and techniques. I draw from all of it, the good and bad experiences. When I communicate with performers, I feel confident because I have been in those shoes!
Me: With plenty of short films early in your career, what tools and skills do you acquire working on those that transfer to feature-film projects?
DM: I was so naive that I thought doing a feature film would feel just like doing 4 shorts back to back, and this was completely untrue!
It is such a big change when you are doing a longer format film. Keeping track of the growth and changes that you require in your characters, crafting story points, and mapping out structure can be confusing. I went back to my analog roots and wrote everything out on index cards on two giant corkboards to keep the story straight.
Me: That brings us to your latest film, "Lucid." What can you tell us about the project?
DM: LUCID A punk rock coming-of-monster story.
In the feature film version of LUCID, we dive much harder into character development. LUCID is about a blocked art student who takes a lucid dreaming elixir and unleashes monsters from her subconscious. It’s a surreal, DIY creature feature with drag horror, stop-motion, and fried-chicken monster.
Me: Where did the inspiration for the film come from? Were there any unique stories about its conception?
DM: We wanted to expand the LUCID world beyond the short film, and diving deeper into character development opened up exciting new storylines. One key moment came while working with our composer Marta Jaciubek McKeever (Fan Death). Marta enlisted James Wollam (Tears for Fears) to co-write a song for a dream sequence where Mia’s parents perform as a folk-rock duo called The Sweetbirds. That song really shaped Mia’s origin story and helped us discover the kind of film we were making.
We shot the flashbacks first, and when we wrapped, our crew told us, “Keep going, we'll help you finish it.” I remember Ramsey and me sobbing like babies out of gratitude. Suddenly, it seemed possible.
Living on Vancouver Island with no creature shop in sight, we had to get creative with how we would create our monsters. We worked with artists Jenna Clarke and Vivian Vanderpuss, who aren’t traditional creature creators. Vivian brought their drag artistry to the Hair Monster, wearing stilettos inside the suit, which gave the creature this unexpected otherworldly femininity and elegance. It felt serendipitous, and totally LUCID.
Me: Working in collaboration on the film with Ramsey Fendall, who took on what responsibilities during the making of the film? What was the collaborative process like once you started working together?
DM: We collaborate closely on every part of the process, writing, storyboarding, and visual design. I naturally tend to gravitate towards character development and performance, while Ramsey leans into the cinematography and visual storytelling side. Our partnership works because our strengths complement each other, and our problem-solving instincts have a way of protecting one another. It creates this creative safety net where we can take big risks and make the impossible feel possible.
Me: With a cast of experienced and talented indie actors, how'd you settle on the cast getting involved in the film? What characteristics did you look for with each performer that they brought to the table that helped bring the production to light?
DM: The cast really came together through a mix of instinct, drawing from our artistic community, and a bit of magic! Caitlin Acken Taylor, who plays Mia, first caught my attention in a music video I edited for Marta Jaciubek McKeever called Superbaked. I was immediately drawn to her magical expressions and her undeniable intensity. Caitlin had this raw, magnetic presence. She is so brave and jumped into the role of Mia headfirst.
Caitlin’s sister, Georgia Acken, was already an established actor, and we were lucky to cast her as Young Mia. Georgia is an old soul with access to really complicated emotions.
The film was a family affair with my daughters, Jo Gaffney and Vi Gaffney, playing art students and our dog Scout, who kept wandering into shots.
Amber Dandelion, who plays Mama/Solange, is a real-life psychic medium and brought this intense, otherworldly energy to the role. We were looking for actors who still know how to pretend. We want people to be in touch with their childhood imagination. Amber brought a natural talent and was fearless in her choices. She also showed up for the entire shoot. When she wasn't acting, she would come and help on set.
Vivian Vanderpuss was cast as Aunt Syd and the Hair Monster for their warmth, improvisational skill, and incredible comedic timing. They brought such heart and humor to a totally bizarre character, and their drag artistry added layers we couldn’t have imagined. Ayla Tesler Mabe, who plays Belladonna, was cast not only for her talent and presence but also because she’s good friends with my daughter Jo Gaffney, who played Nic. That real-life connection gave their scenes together an extra spark. Elaine Thrash came to us through an online casting call. We couldn't believe that she was a real-life death metal artist. She was truthful and committed. Jo Barnes was in a play in Victoria, and I had to cast her because I remember the audience adored her in the play. Every time she would walk on stage, people would straighten up and hang on every word. She is a star! John Luna, who plays Mr. Colt, is an actual art teacher and childhood friend of Ramsey’s, which gave his performance a lot of weight. Bobby Cleveland, who plays Papa, was our sound recordist on the LUCID short film. He is a muse for us, and we have been collecting footage with him for many years. Including a shot we did with a ball of fire that was created with just Ramsey, Bobby, and me in our backyard.
Me: What was the set like while shooting the film? How did the cast and crew react to the type of film being made?
DM: Creatively, it was thrilling and filled with surprises. One day, we would be filming a Chicken nugget riot, and the next would be Vivian Vanderpuss in stilettos wearing a hair monster costume. Actor Caitlin Acken Taylor lived with Ramsey and me during shooting, and sometimes we would shoot stuff with just the three of us. Most of the filming was in our house, and the wardrobe was set up in the basement.
Me: Do you recall having any odd or funny on-set stories about yourself or any of the other cast/crew members?
DM: There are many stories! We got through the entire production loading into two carefully packed hatchback vehicles, as we never had a truck. We had to walk up 51 steps to get to our classroom location, and we had a lot of gear to carry in and out. I ripped my rotator cuff by carrying too many sandbags. It taught me a big lesson about overloading!
Me: What are you most looking forward to with its upcoming release?
DM: We’re excited, and a little nervous, to finally let LUCID out into the world. After years of building it with this amazing team, we’re looking forward to sitting in a theatre and soaking up the reactions!
Me: What do you do to keep your creative energy flowing?
DM: Ramsey and I like to jump in the car, find a weird location and cool spot, and shoot it on film. We keep a collection of images in this way so that we can use them for our editing and to inform us of stories or just stimulate day dreaming. I write a lot of notes and take inspiration from dreams. Music is a huge way in for me if I need a state change for actors or to quickly change the vibe on set.
Me: Lastly, what else are you working on that you'd like to share with our readers? Thank you again for your time!
DM: We are working on another feature. A 1980s cult film called LUCKY. Think Midsommer meets Mandy but make it wet, Canadian, and full of wasps.
This review is part of our coverage of the 2025 Fantasia International Film Festival. Click the banner below to check out our reviews and interviews from the festival:
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