When the Make-A-Wish Foundation reached out with a unique request, Scottish horror filmmaker Lawrie Brewster didn’t need persuading. Rebecca Hopkins, from Girvan, Scotland, is a courageous young girl living with a serious illness has had one dream she wanted more than anything. To appear in a real horror film. Not just as a visitor on set, but as a proper part of the story. Brewster and his partner Sarah Daly made sure that’s exactly what happened.
Rebecca, a lifelong fan of horror films like Scream and I Know What You Did Last Summer, travelled with her mum to Hex Studios in Fife. She spent the day filming a ghostly scene in Mr Whispers, an upcoming indie horror set in a haunted cinema. Megan Tremethick plays the lead, Kathryn Hale, a student filmmaker chasing down an urban legend about a porcelain-masked spectre who preys on local children. That spectre, Mr Whispers, is the chilling centrepiece of the story. And Rebecca’s scene will be right in the heart of it.
Rebecca and Mr Whispers
Everything was carefully planned around Rebecca’s needs. Daly worked closely with the Foundation to coordinate transport and ensure she was comfortable throughout the day. A rest area, warm meals, and time to relax between takes meant nothing was rushed. She even got her own ghostly costume and make-up, applied by Tremethick herself. Co-stars Dorian Ashbourne, Novarro Ramon, and Sam MacMillan helped create a relaxed and supportive atmosphere on set.
The studio itself, founded by Brewster and Daly, was built to revive a classic British horror tradition. That includes practical effects, ambitious storytelling and a permanent creative base outside London. When producer Jed Shepherd flagged the wish request, Brewster knew their set-up in Fife was the right fit.
Rebecca gets her make up done personally, by star Megan Tremethick
This wasn’t a token gesture. Rebecca filmed a full scene and will be credited in the final film. She also met the haunting Mr Whispers, and though his cracked porcelain mask gave her pause at first, she ended up smiling between takes.
After filming wrapped, the team celebrated with pizza, provided by Domino’s, and gifts prepared by Daly. These included Owlman plush toys, books, and clothes for Rebecca and her sisters. Local supporters like Fife Creative Studios also joined in, waiving their fees and helping make the experience extra special.
Brewster later said, “Rebecca’s joy and talent brought something really special to the production. It was an honour to help make her dream come true.”
Mr Whispers is now fully filmed. A Kickstarter campaign to raise funds for post-production will launch soon, with early followers already able to sign up for updates.
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.
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.
1. For those who may not be familiar with your work, could you please introduce yourself and share how you began your journey in the film industry? What inspired you to pursue a career in horror?
Of course! I’m Megan Tremethick, an actress and filmmaker with a love of gothic horror, psychological horror, and dark fantasy. I’ve been incredibly lucky to work with British Horror Studio/Hex Studios, and Amicus Productions, starring in a range of indie horror films, including The Reign of Queen Ginnarra, Ghost Crew, and the upcoming In The Grip of Terror. I’m also currently directing my first feature film, Spoiling You, a psychological horror inspired by ASMR.
My journey into film began with a deep love of classic horror cinema. I was always drawn to the atmosphere, rich storytelling, and iconic performances in films from studios like Hammer Horror and Amicus.
The first films I worked on were local short films in Cornwall, when I lived there. Those early projects were such an important learning experience, giving me the chance to be on set, collaborate with filmmakers, and develop my craft as I went along. I actually first connected with the team at British Horror Studio after backing their Kickstarter for The Black Gloves, rafting some of the most exciting and ambitious indie horror projects I’ve been a part of. Getting to work alongside such a passionate, tight-knit team has been an incredible experience, and I feel so lucky to be creating films together with them.
Horror has always felt like the perfect genre for me because it’s so emotionally charged, it allows you to explore striking, dramatic characters and deep psychological themes in ways that other genres don’t. Whether it’s gothic horror with a tragic villain at its centre or something more surreal and unsettling, I love films that stay with you long after you’ve watched them.
Megan Tremethick
2. You portray Queen Ginnarra in The Reign of Queen Ginnarra, which is a captivating role. Can you walk us through your experience with this character? How did you come to land this role, and what drew you to the project?
I feel very honoured that when director and writer Lawrie Brewster was writing the script, he wrote the role with me in mind. The Reign of Queen Ginnarra is such an ambitious and unique film, and Queen Ginnarra herself is an absolutely fascinating character. She’s layered, complex, and deeply enigmatic, with so much bubbling beneath a carefully controlled, stoic surface.
When I first read the script, I didn’t know what to expect... but it wasn’t that! She’s not a typical villain, nor a straightforward antihero, there’s a mystique to her, a quiet intensity that makes her incredibly intriguing. What really stood out to me is how much she holds back, she doesn’t reveal much through words or grand expressions, but through silences, glances, and the weight of her presence. That restraint makes her even more powerful and unsettling.
I knew immediately how I wanted to approach her performance because there was already so much richness in the writing to build on. There’s a kind of unspoken history in every scene she’s in, and that’s what made stepping into her role such an incredible challenge, and an absolute joy.
3. Your makeup and costume in the film are truly striking. Can you describe the process of bringing Queen Ginnarra to life, particularly the transformation in the makeup chair? How long did it take, and what challenges did you face with such an intricate look?
Lawrie designed Queen Ginnarra’s costume, while I had the opportunity to design her makeup myself. The whole look was an absolute joy to wear, it felt dramatic, imposing, and completely fitting for a character like Ginnarra.
The costume consisted of a corset, a large hoop skirt under the gown (to maintain its massive silhouette), a structured bodice, an intricate headdress, and a ruff. I also wore 6-inch heels to make Queen Ginnarra feel more imposing. It was surprisingly easy to get into... though moving through narrow doorways was another story! There were definitely a few moments of getting caught on things, but honestly, that just added to the fun of it.
The makeup process was relatively straightforward, taking around 40 minutes to an hour, which is pretty standard. I love the process of getting into costume and makeup, as those physical transformations really help me step into a character’s headspace. With Ginnarra in particular, every element of her look, the way the costume structured my posture, the weight of the headdress, the stark contrast of her makeup, helped me inhabit her presence more fully.
Also, I’ve always had a love for gothic fashion, so getting to embody such an extravagant, regal, and eerie aesthetic was an absolute dream!
Stephen Kerr as Kronus
4. In addition to your acting career, you’ve also stepped behind the camera as a director and writer. Which of these roles did you first explore, and how has your perspective on filmmaking evolved over time? Do you have a preference for one over the other?
First came acting, then I started writing short screenplays, and eventually, I wanted to try and bring them to life. When I was around 17 or 18, I wrote a short screenplay inspired by The Woman in Black by Susan Hill, told from the perspective of Jennet Humfrye (The Woman in Black herself), and made it for a college assignment. Although it’s not available anywhere online, I’m still quite fond of it, I had a lot of fun making it, and it definitely gave me the bug for more creative control than just acting.
A few years ago, I also began writing short horror and fantasy stories, and while I do love screenwriting and work hard to improve at it, I find that prose comes more naturally to me, the words just seem to flow better from my brain onto the page.
The first full short film I directed was Slot, a giallo-inspired Lovecraftian horror. British Horror Studio very kindly collaborated with me, lending their team and vital resources to help bring it to life. Since then, I’ve directed two more short films, worked as a second-unit director on British Horror Studio feature films, and am now most of the way through filming my feature film directorial debut, Spoiling You.
Coming from an acting background has definitely influenced the way I direct. For me, the performance is the most important aspect of a shot (within reason, of course). I also edit my own films, and when choosing takes, I prioritise the actor’s best performance over the most ‘technically perfect’ shot (within reason... haha!).
In the past, whenever I was asked if I preferred acting or directing, I would never hesitate, I’d always say that acting was my first love. But the more I’ve gotten to direct, the harder it’s becoming to pick a favourite. Now, I think the perfect balance for me is getting to do both, playing unusual, exciting, and challenging roles, while also directing projects that push me creatively and help me grow. That’s how I love to spend my days!
5. Horror films often require a great deal of emotional intensity. How do you prepare mentally and physically for some of the more intense scenes in your roles, and do you have any rituals or techniques to help get into character?
For me, each role requires a different approach when preparing for emotionally intense scenes. If the character feels close to me in some way, or if I have personal experiences that I can transplant into the role, then I’ll use a more method-based approach. However, if the character feels far removed from my own experiences, I actually prefer to rely on imagination to fill in the gaps.
I personally find imaginative prep just as effective as method acting, sometimes even more so. When you fully construct a character’s world in your mind, imagining every detail of their life and emotions, it becomes almost impossible not to get completely invested in them and empathise with their perspective, no matter how extreme or detached from reality it might be.
Even with Queen Ginnarra, who has committed truly monstrous deeds, I found myself deeply feeling for her because of the tragedies that shaped her. That doesn’t justify her actions, of course, but understanding what drove her to the edge was crucial in bringing her to life in a way that felt real and compelling.
Andrew Gourlay as Elderon vs The Black Claw Guard
6. As an actress, you’ve worked in both horror and genre films. Are there particular themes or aspects of the horror genre that you are particularly drawn to, or do you enjoy exploring a wide variety of characters within it?
I definitely love to explore a wide variety of themes and characters within the horror genre. One of the things I love most about horror is how versatile and boundary-pushing it can be, there’s so much room for experimentation, whether it’s psychological horror, gothic horror, surreal horror, or something completely different.
I also love a challenge, and that often comes from asking myself, “What role would push me the furthest outside my comfort zone?” If a character feels totally different from anything I’ve played before, that’s when I know it’s something I want to try. I won’t lie, I get super nervous about those kinds of roles, but once I’ve done it, I’m always buzzing. There’s something incredibly rewarding about stepping into a character that initially feels intimidating and finding the truth within them.
At the same time, I’m always drawn to characters with depth, whether that’s a gothic antihero, a tragic villain, or someone in a more psychological, slow-burn horror setting. As long as the role has something interesting, layered, or emotionally gripping, I’m excited.
7. In your experience, what sets working in independent horror films apart from larger studio productions? Are there unique challenges or creative freedoms you’ve encountered in indie horror that you find particularly rewarding?
One of the things I love most about working in independent horror is the sheer creativity and resourcefulness that goes into making these films. While larger studio productions might have bigger budgets and more extensive resources, indie horror thrives on ambition and innovation.
On every film I’ve worked on with British Horror Studio, even though the budgets are tight, the ideas are always incredibly ambitious. That means we all have to think creatively to bring those ideas to life. Whether it’s finding inventive ways to create striking visuals, practical effects, or atmospheric set designs, there’s a real sense of problem-solving and collaboration that makes the process so rewarding.
I also love how indie horror allows for bolder, more unconventional storytelling, there’s a real freedom to take risks, experiment, and explore unique concepts that might not always make it into a studio-backed film. Because the teams are often smaller, everyone feels deeply involved in the creative process, and that makes the final result even more personal and exciting.
Megan Tremethick
8. You have a growing reputation as a filmmaker in addition to your acting. What advice would you give to aspiring actors or filmmakers looking to break into the horror genre? Are there any key lessons you’ve learned that you wish you knew earlier in your career?
My biggest advice for anyone looking to break into horror, whether as an actor or filmmaker, is simply to start creating. You don’t need a huge budget or a big studio behind you to begin telling stories. Find like-minded people, make short films, experiment, and most importantly, learn by doing. Every project, no matter how small, teaches you something valuable.
Another great way to get experience is to take on any role you can on a film set, and that may not be the role of your dreams at the start. Being involved in different aspects of filmmaking will give you a much better understanding of how films are made and help you build relationships in the industry.
Also, just watch films. A lot of them. Study classic horror films, keep up with new releases, and absorb as much storytelling as you can. Some of the best lessons come from seeing how different filmmakers approach tension, atmosphere, and character development.
One thing I really wish I’d known earlier is that while the craft of acting and filmmaking is the heart of it all, promotion is just as important. It’s not enough to create something great, you also have to do everything you can to get eyeballs on the movie! Supporting and promoting the work of your creative team, reaching out to media outlets, attending festivals, and being active on social media all play a huge role in making sure your work actually gets seen.
9. The horror genre has evolved quite a bit over the years, with a rise in psychological and supernatural horror alongside more traditional slasher films. How do you see the genre developing, and what direction would you like to see it take in the future?
I love that so many creative, bold, and unconventional horror films are being made at the moment! The genre is in such an exciting place, with filmmakers pushing boundaries and exploring more psychological, surreal, and thematically rich horror alongside the more traditional styles.
What excites me most is seeing horror continue to embrace artistic freedom. Some of the most interesting films in recent years have been ones that take risks, whether that’s blending horror with unexpected genres, using unconventional storytelling techniques, or tackling complex themes in new and unsettling ways.
I’d love to see that freedom of expression continue to grow within horror. The genre has always thrived on reinvention, and I think its future lies in allowing filmmakers to push past traditional formulas and explore ideas that feel personal, strange, and boundary-breaking.
Megan Tremethick as Queen Ginnarra and Dorian Ashbourne as Prince Raemin
10. Finally, can you share any upcoming projects or roles you’re particularly excited about? What can your fans expect from you in the near future, both in front of and behind the camera?
I’ve got an intense few months ahead... in a good way! I’m continuing my work with British Horror Studio, Hex Studios, and Amicus Productions. That includes In The Grip of Terror, the long-awaited return of Amicus Productions, directed by Lawrie Brewster and starring the legendary Academy Award nominee Jane Merrow and Laurence R. Harvey. I’m also in Black Chariot, a black-and-white neo-noir supernatural thriller featuring Laurence R. Harvey, Novarro Ramon, Dorian Ashbourne, and Sam Barclay.
The Reign of Queen Ginnarra is premiering at Romford Horror Film Festival, with two screenings, Saturday, March 1st at 8 PM and Sunday, March 2nd at 5 PM. I’ll be there alongside some of the British Horror Studio team, and we all can't wait!
Outside of Queen Ginnarra, I’m in the final stretch of filming my directorial feature debut, Spoiling You, a psychological horror film with an ASMR-inspired approach. It’s been one of the most ambitious and wild projects I’ve worked on, and I’m so eager to throw myself into post-production soon.
If you want to keep up with everything we’re doing at British Horror Studio, or even get involved in our future projects, I’d really recommend checking out our Patreon! We’re building an incredible community of horror lovers and indie filmmakers, with exclusive behind-the-scenes content, film updates, and even opportunities to be part of the process. There’s a free tier, so you don’t have to spend anything to join in!
