| Daughter |
[14 Jun 2008|02:30am] |
There were rumors it might have happened before— the first actual vampiric turning ever committed to commercial film. There were a heck of a lot of horror films, and even more actors, who never seemed to get heard from again through the decades. Malkovich even starred in one, built around that very premise.
Victoria Foxworth could be something of an enigma when it came to the merchandise of vampirism. She had read, seen, or watched virtually every bit of media in existence about them, yet could hold a controversial view of supposedly classic examples of such: She adored the film 'Interview with the Vampire' yet was bored to tears by the original book. She liked how some scenes of 'Nosferatu' were more authentic to a certain Bram Stoker novel than most legitimate adaptations of the same, yet had never felt scared by it, as so many film critics decreed virtually everyone should.
Perhaps it was that very objective outlook of the subject that might guarantee her own work a place in history. While she did not overlook the possibility of it being regarded as awful, the vampiress now possessed insights, the like of which no human writer or director would know. Insights she was doing her best to convey on the screen. What mattered was that, so far, she was happy with what had come to pass. Financing it largely out of the money accrued from the destroyed second incarnation of Fang Noir, her version of 'Carmilla' was, in a way, a childhood dream, which meant its eventual creation was very much a labor of love.
Her suspicions about one Estella Tomlin having starlet potential were correct, too. There was something about the way the blonde looked. Something about how light shone over and interacted with her, on an aesthetic level. Curious, really, but Victoria discovered those properties lent themselves easily to cinematography not too unlike silent film icons of the twenties and thirties. An aspect of playing with light and shadow, which, somewhat ironically, seemed to foreshadow what was to come.
Everything was done. Everything committed to film. The only thing left was the culmination of what this had led up to—the only genuine, recorded instance of vampirism in Hollywood history. There had been a slight hiatus, when depressing recent events had come to pass, which went without saying. Now, though... Now fantasy was about to become reality.
The scene had already been set up. Multiple cameras situated from almost every angle might have, in years past, been imposing. These days with miniaturization and digital technology? Not so much. It meant this portion could be done without a crew. The recording devices set aside, off by the walls and in amongst prop furniture. To all intents and purposes, it was less of a set and more of a real bedroom. Victoria's script, needless to say, differed from the original story... For her own, the vampiresss would succeed, rather than be destroyed. Although able to be regarded as artistic interpretation, Vicky was as bored as she was frustrated at so many screen vampires coming to a premature end. No, her story was more about the exploration of vampirism itself. The seduction of darkness. What it actually meant to be embraced by shadows and be of them.
One of the reasons she liked 'Interview' so much.
With dusk setting over Las Vegas, the vampiress felt unusually calm. She had figured this might be a moment of excitement. Instead, she felt unexpectedly whole, at the prospect of finally making another like herself. At least until the bell was heard at door, which had a way of bringing reality back into focus. With one last look at the set, she made her way down to the studio entrance and opened it with a smile.
"Velcome to my castle," she grinned to her friend, in Eastern European accent.
( Into the Spiderweb )
( The Fine Print )
( Girls on Film )
( A Death Scene? (Mild Sexuality) )
|
|