Megan Tremethick as Nurse Charlotte
Megan Tremethick is no stranger to horror. An actress and filmmaker with a clear love for the genre, she’s carved out a space for herself through smart, grounded performances and an obvious respect for the craft. When we last spoke, she hinted at a deep affection for the golden age of British horror. Now, she’s starring in In The Grip of Terror, the brand-new anthology from Amicus Productions, stepping into the kind of role she once admired from the audience. I caught up with her to find out what it was like bringing Nurse Charlotte Gibbon to life and to talk about what this project means to her.
1. So Megan, when we last spoke, you mentioned your love of British horror. Now you’re starring in a full-on Amicus revival. Was there a particular moment when it hit you just how surreal that was?
There were plenty of little moments! When I first read the script it really hit me. One other one that really stands out was when a group of us from the cast and crew gathered in the dungeon set during pre-production to watch three classic Amicus films projected on a screen. It was so fun, but also filled us all with a sense of responsibility. And rightly so! We were all very aware of the legacy we were stepping into, and that made the experience feel meaningful and a little daunting. Another moment like this was filming the wraparound. I remember walking down a dark corridor with Lawrie Brewster and Dorian Ashbourne during a take, and it felt genuinely uncanny, a bit like we had stepped right into an original Amicus film.
2. Tell me about Nurse Charlotte Gibbon. What drew you to her, and what kind of challenge did she present compared to characters you’ve played before?
Charlotte Gibbon is one of three travellers who arrive at an abandoned hospital, seemingly with no idea why they’re all there. But Charlotte is hiding a dark secret that slowly reveals her true purpose for being there.
What made her particularly challenging to play was that she exists in two parts of the film: the overarching wraparound and her own segment, The One-Way Ward. In the wraparound, she’s dazed and uncertain, with something eerie about her fractured memory. In contrast, the Charlotte in her segment is more composed and deliberate. Playing both sides of her journey was challenging but incredibly rewarding!
3. Amicus is a big name to live up to. How much freedom did you feel to make this your own, versus honouring that legacy?
The whole team felt a huge obligation to honour the legacy of Amicus, and they did everything they could to do so with care, respect and genuine admiration. From the very start, there was a shared understanding that this was not about modernising Amicus or trying to reinvent the wheel. It was about continuing what they did best: theatrical, character-driven horror, with eerie settings and a slightly heightened, almost timeless tone.
The whole team paid close attention to the visual language of the original films. Everything from the cinematography and lighting to the set design was approached to feel as though it belonged in the same world. Lawrie Brewster, our director and writer, and Sarah Daly, our producer, made sure that every detail, from costumes to colour palette, contributed to that classic Amicus feel. Even the pacing and editing style were influenced by the originals.
As an actor, I also studied the performance style of actresses from the era, with their cool, composed deliveries and underlying tension, so that my portrayal would hopefully sit comfortably alongside the performances that fans of Amicus are so fond of. It was all about capturing the spirit, not just the surface. We did not take the responsibility lightly, but I think the fact that we are all genuine fans made the process feel more like a tribute than a challenge.
4. Working with Lawrie Brewster and the Subotsky brothers sounds like a horror fan’s dream. What was that dynamic like day to day? Did it feel collaborative or more like stepping into something sacred?
Working with Lawrie Brewster and the Subotsky family was such a privilege! Sergei and Dmitri Subotsky were executive producers on the film and played an important role behind the scenes, working closely with Lawrie and Sarah to help shape the direction of the project and ensure it stayed true to the legacy of Amicus. Their trust and support throughout were invaluable. Fiona Subotsky also made an invaluable contribution by selecting two of the three stories that became part of the final anthology. Lawrie then carefully adapted those stories into full screenplays.
We were also incredibly fortunate to have Sergei visit during the filming of The One-Way Ward, which was really special. It made the whole experience feel even more meaningful, knowing he was there to see part of it come to life.
5. This one’s a proper anthology. As a performer, is it freeing or limiting knowing your story is just one part of a bigger puzzle?
I was lucky enough to feature in a small way in each of the segments, which felt like a massive honour. It gave me the opportunity to weave little echoes of Charlotte’s presence throughout the film, even beyond her main storyline. That said, it was still somewhat challenging knowing that the main arc of her character is contained within a single segment. You don’t have the luxury of a full feature-length arc to gradually develop the character, so every moment really has to count.
I had to make clear choices early on and then trust that those layers will come through without needing to over-explain anything. But I actually found that quite freeing. It forces you to be super intentional. Being part of an anthology is always exciting because you are contributing one part to a much bigger overall story. Each story has its own tone and pace, but together they create something really rich and varied.
Michael Daviot and Sam Barclay with the Police make a grizly discovery
6. Let’s talk tone. The original Amicus films had a very specific flavour. Did you do anything personally to channel that atmosphere, or did it come more from the script and direction?
I definitely wanted to channel the tone of the original Amicus films in my performance, so I spent quite a bit of time revisiting them. I rewatched some of my favourites like Asylum, Vault of Horror and The House That Dripped Blood, paying close attention to the way the actors carried themselves: their physicality, the precision in their line delivery, that slightly heightened but always grounded quality.
I also practised speaking in Received Pronunciation, which was common in British cinema of the 60s and 70s. It felt like an important detail to help place Nurse Charlotte in the right tonal world.
That said, the script and direction absolutely guided my performance too. Lawrie Brewster had such a clear vision for capturing the essence of Amicus, and the dialogue naturally lent itself to that vintage style. So between the atmosphere on set, the writing, and the references we all shared, it became quite easy to sink into that world and let the tone inform every choice.
7. You’ve talked before about the joys of practical effects. How did the horror elements in this compare? Did you get your hands dirty this time?
Not to give too much away, but there are definitely some gory practical effects in the film, and they are deliciously old school! Many of the effects were created by Calum “Caz” Paul, with support from Michael Brewster, and they bring a wonderfully tactile, retro horror feel to the screen. I wasn’t directly involved in making them, but my character may or may not make a rather grisly discovery at one point. It was a joy to see those classic techniques used so effectively and with such care.
8. Without giving too much away, was there a particular scene or sequence you’re especially proud of? Something that really pushed you or surprised you in the best way?
A fight breaks out and there is a desperate struggle with stakes of life and death. It was a scene that required several takes and lots of different setups from multiple angles to get full coverage, so it was definitely demanding, both physically and emotionally. But it was also a lot of fun! I am really proud of how it turned out, and I think it adds a real intensity to the segment.
9. The film clearly respects its roots, but horror has moved on too. Where do you think In The Grip of Terror sits between nostalgia and something new?
The whole team wanted In The Grip of Terror to feel as though Amicus had never stopped making films in the 1970s, not a reboot or modern reimagining, but a seamless continuation of that era. From the performance style and practical effects to the cinematography and pacing, everything was crafted with that in mind. While some elements may feel fresh simply by contrast with modern horror trends, we were not trying to update Amicus; we were celebrating its legacy by recreating its spirit as faithfully as possible.
10. Final one: if little-you, sat watching late-night horror on a battered VHS, could see you now in this role… what do you think she’d say?
I think little me would be in total disbelief, haha. Back then, I was incredibly shy! I imagine she’d be completely amazed to see me playing a character like Nurse Charlotte Gibbon. I’ve always been drawn to characters with an air of mystery, even a touch of the femme fatale, so I think young me would be both intrigued and proud. She’d never have imagined being part of something like this, but she’d have secretly wished she could.
Megan Instagram: https://www.instagram.com/megantremethick/
BHS Facebook Page: https://www.facebook.com/BritishhorrorStudio/
Huge thanks to Megan for taking the time to speak with me again. In The Grip of Terror is a film made with real passion, and it’s clear her performance is coming from the same place. Keep an eye out for it, fans of classic horror are in for something special.
