Johnny Caps1980s, 1990s, 2000s, 2010s, Celluloid Bloodbath: More Prevues From Hell, Chiller Theatre, Conventions, Deathrow Gameshow, Debra Lamb, Electric Blue, Kissing Time, Point Break, Stripped To Kill, Stripped To Kill 2: Live Girls, The Dark Stranger1
(Cover photo by David Hauser)
It was a pretty boring Summer, with the occasional rough patch at work, but some nice things happened during the season. One of them was my next interview. My first exposure to Debra Lamb came when I purchased the 1987 movie “Stripped To Kill” on DVD. Ms. Lamb’s dancing stood out, and as I came to know more about her, I became fascinated. She’s a dancer, an actress, an author, and a model, among her many other skills, and I knew she would make for an excellent interview subject, especially with 2017 marking the 30th anniversary of the cult classic “Deathrow Gameshow”. I hope you all enjoy getting to know this tremendous and versatile talent.
Say hello to Debra Lamb!
Johnny: Hello, Debra.
Debra: Hi, Johnny. How are you?
Johnny: I’m doing good. Thank you for taking the time out of your schedule to speak to me. I’d like to start out with this question. You started out as a dancer, and you continue to dance. How did dancing prepare you for the entertainment industry?
Debra: Well, I actually get asked that quite often. I started ballet when I was 7 years old, and I took ballet for 7 years in Portland, Oregon. It was with the Portland, Oregon Ballet Company, and we put on two major productions each year. We would put on a summer production at the International Rose Test Garden, and in the winter, we would have a big production in one of the theaters. That, of course, introduced me to theater, so it wasn’t just the dancing, it was the whole theater life. And then my mom moved us to Los Angeles from Portland when I was 14 or 15. We were actually very poor, but we found a guest house behind a property in Beverly Hills. That next school year I went to Beverly Hills High School, which was a major culture shock. I enrolled in dance classes. I enrolled in modern dance, and we did theater performances. I started doing choreography and I was in the drama class. The next year, we moved to Santa Monica, so for my junior and senior years, I was at Santa Monica High School. I was always in the dance classes and the drama classes. Once I graduated high school, within the next couple of years I went to the Van Mar Academy Of Motion Picture And Television Acting, which was run by Ivan Markota. It was a very well-known and respected acting school. Ivan passed away many years ago, and the school’s no longer running, but that’s the story, so I’ve been in the theater since I was 7.
Johnny: Alright. Who have been your biggest influences as a dancer?
Debra: Let’s see. When I was beginning my acting career, I was in my early 20s. I started dancing at a famous burlesque club called The Body Shop. The building is still there, but it’s not the same as when I was dancing there. When I was there, there were famous, top-performing dancers. We all did very elaborate shows, something along the lines of the famous burlesque shows of Paris. It was like in the style of Dita Von Teese. Back then, The Body Shop was a magnet for celebrities. I danced for Sean Penn. I danced for Madonna, David Lee Roth, the famous sci-fi special effects artist Rob Bottin, William Petersen from To Live And Die In LA…I had many wonderful conversations with these people, and that was a fantastic experience. To answer your question about who influenced me, of course we influenced each other, me and the ladies in my company during the days when I was dancing there. As far as influences of famous dancers, of course, Fred Astaire. Ginger Rogers. Rita Moreno is one of my all-time favorite dancers and actresses. Justin Timberlake, of course. Michael Jackson. Janet Jackson. The last few I mentioned are singers, too, but the dancers’ performances greatly influenced me when I was dancing.
Johnny: Alright. I have seen videos of your dancing on your YouTube channel, and I was particularly impressed by the routine you came up with for Michael Jackson’s song “Smooth Criminal”. If I may be so bold, I thought it was very sexy, and you definitely had some good moves in that. Did Michael Jackson himself ever see the routine you created for that song?
Debra: No, I don’t believe so. That video? I was performing at a club called Peanuts. I don’t remember now, it’s been so many years, but it was on Santa Monica Boulevard. The club is still there, and I was a regular performer there for several years. They had different themes for different nights, and I was a performer during the Lesbian Night for several years. Cher, I heard, was in there a few times for that night, as well as other celebrities like Sandra Bernhard. One day, they let me go in there and do some routines. There was no audience. I just went in during the day and was able to use the stage to have someone videotape me doing a couple of my routines. One of the routines I performed that’s on YouTube is the previously mentioned Debra Lamb Is Ms. Kiss Kiss Bang Bang, and the other one is Debra Lamb Is Demented. The one you’re thinking of, “Ms. Kiss Kiss Bang Bang”, is my homage to Michael Jackson’s “Smooth Criminal”. There’s no way anybody could have seen it because those were on VHS tapes that nobody had seen. A few years ago, I had a good friend who was able to take my VHS tapes and upload them in a digital format, and I was able to put them on YouTube. Before then, nobody had the opportunity to see it, so there’s no way Michael Jackson could’ve seen it.
Johnny: Okay. What’s been the most unusual song you’ve ever created a routine to?
Debra: There were a couple of shows I created which were more unusual, a little more out there. I did a couple that were kind of psychedelic in nature. There was one show I did to Napoleon XIV’s “They’re Coming To Take Me Away”. That was for one of my straitjacket routines. I had this really great straitjacket that you can see in the video “Debra Lamb Is Demented”. My friend is a famous costume designer. He got his start working for Johnny Carson, making many costumes for his show, and has subsequently gone on to create many famous costumes for TV shows and films. His name is Larry Carns, and he created many, many one-of-a-kind, original costumes for me, many of which I actually designed and then he would create them. The straitjacket that I wore in the video, and then wore on stage at The Body Shop? He made that for me. That was one of my more unusual shows. I think there were some other unusual shows, but that’s the one that sticks out in my mind the most.
Johnny: Alright. Another thing you’re known for is your fire-eating skills. How did you learn to do that, and was it as hard to do as one might imagine?
Debra: The trick to the fire-eating is being able to set aside the innate and instinctive fear of fire. I have a friend, and we’re still friends from 25 years ago. Her name is Hayward Perez, and she had been a magician’s assistant. The magician’s name was William Wizard, and he performed at the Magic Castle many times as a regular during his stint. He did a lot of pyrotechnics in his act, so when she was his assistant, she did fire-eating. Many years later, we were friends and she taught me how to fire-eat. I had a pair of custom-made fire torches made for me, and so I took what she taught me to the stage. I became quite skilled, and then I had another dancer friend who taught me how to spit fire, which is where you put lighter fluid in your mouth and then you spit it at the lit torch, spitting a big ball of fire. There’s a trick to all of this, but it’s not as much of a trick as people think. When fire-eating, a lot of the time people think I have something coating my mouth and protecting me from the flames, but as you can see on YouTube, when you have the torch in your mouth, you’re leaning your head all the way back. The flame is, of course, rising, and so the flame comes out of your mouth straight up. That’s one thing, and you basically just coat your mouth with saliva and keep it wet. When spitting the fire, there is a bit of a technique to that. I’ve had friends who have wanted me to teach them how to fire-eat. One friend I had, I told him I would not teach him to fire-eat because it really is very dangerous. I knew that he would probably try to do this after drinking, and there was no way I was going to be responsible for him setting himself on fire (laughing).
Johnny: Alright. So, going from dancing to acting, one of your earliest roles was in 1987’s “Stripped To Kill”. Violent plot line aside, how accurate was the movie to your dancing experiences?
Debra: Well, the director, Katt Shea, was just really, really wonderful to work with. In the first “Stripped To Kill”, starring Kay Lenz and Norman Fell, it’s a story about a killer, but the scenes depicting life behind the scenes of a strip club are actually very accurate. All the dancers in the film, except for the star Kay Lenz, were dancers that, most of them, I worked with myself. I knew all of them. We were actual, real dancers. We were real performers, and it was quite a unique and eclectic group of dancers in that film. To answer your question, it was very true to life. In the first “Stripped To Kill”, I had a very small part, but I also worked as a body double. The actor who played the killer was playing two roles. It was a man and he was playing the brother, but he was also playing the twin sister. When he was the twin sister, he was wearing a wig that looked like my hair, so they used me as a body double for the close-ups of the sister’s body, so it would actually be a woman’s body, which was mine. I also had the small role of a dancer in the amateur contest which Kay Lenz’s character is in, and then Kay Lenz gets hired on. In the sequel, “Stripped To Kill II: Live Girls”, I had a much larger role. Again, it was a story about murders at a strip club, and again, all the dancers in the film were actual dancers whom I worked with, except for the star of the film, Karen Mayo-Chandler. She was not a professional dancer, but she did very well. The co-star in the film, Maria Ford, was actually a dancer. Katt Shea did a very good job casting the dancers in both “Stripped To Kill” and “Stripped To Kill II” because most of them were actual, real dancers.
Johnny: Alright. Also in 1987, you played Shanna Shallow in the Crown Pictures release “Deathrow Gameshow”. As game shows and reality-based programming showcasing the worst of humanity remain popular, do you think that we may ever see an actual Deathrow Gameshow someday, or do you think that even that would be going too far for some people?
Debra: That was a fun movie. I have a pretty large fan base, and that is one of their favorite films that they’ve seen me in from those days, from the 80s and 90s. (Laughing) I do not see that ever happening in real life. I don’t think the public would stand for that (laughing), but it’s a really funny thought. I just don’t see that ever happening, but I don’t know if that would be really funny or (laughing) really, really tragic.
Johnny: Moving on from that, you appeared in several installments of the classic 80s softcore series “Electric Blue”. What are your favorite memories of working on that series, if you had any?
Debra: It’s funny, because those were at the very beginning of my career. I think I already had my small role in Stripped To Kill. I had done a lot of modeling, and I was just trying to break into film. That was a really good opportunity for me. Now, “Electric Blue”, for people who don’t know what that is, was a popular series that was showing on The Playboy Channel. It was just right at the dawn of cable. The Playboy Channel was one of the very first cable channels, along with HBO and the other popular channels of the time. I equate those shows with a sitcom, only everyone’s topless. It’s a topless sitcom, and as far as being softcore, yes, it was definitely softcore, but it was not porn. There was simulated sex, but I was not in any of the scenes where there was simulated sex. The roles I was playing were co-starring roles. One of them was called Tunnel Of Love. It starred Ginger Lynn, myself and Gail Thackray. We were girls working at a carnival, and it’s one of the typical carnival stories. The carnival is going under and at the risk of closing. Ginger Lynn’s character suddenly finds that she’s inherited a fortune. She goes and lives in this mansion, and of course, there’s the conniving, scheming cousin trying to steal her inheritance away from her. My character, and my co-star Gail Thackray’s character, were very sad. We’re over at the carnival, just very sad that Ginger Lynn’s character Bumper has deserted us and deserted the carnival. Of course I’m the fire-eater. We have this whole story, and then Ginger Lynn’s character comes back to save the day and save the carnival, and we’re all reunited. We’re one big, happy family again. It’s funny because you have this story, but everybody’s topless (laughing). It’s pretty funny.
Johnny: Your IMDB page says that, although the part was cut, you got your SAG card working on the classic comedy-drama “Planes, Trains And Automobiles”. What was it like to work with the formidable trio of John Hughes, John Candy and Steve Martin, and have you ever tried visiting the Paramount lot to see if you could find your deleted scene, in addition to all the others that were cut?
Debra: This is a great story. I was hired for a scene in the movie, but my very first involvement with the film came with John Candy’s character, the shower curtain ring salesman. In the film, you see that he refers to a calendar, and I don’t remember if he actually shows the calendar or not, but I was one of the models for the calendar that was a prop in the film. I was hired to come on for a day to work on a scene after Steve Martin and John Candy’s characters’ car catches on fire. Steve Martin is trying to call home, and they go into a strip club so Steve Martin can make a phone call. I’m one of the dancers in the club. We had shot a lot of scenes that day, and then John Hughes decided that he wanted to have a scene where one of the dancers interacts with John Candy and Steve Martin. I ended up getting picked for that role, and actually, at the time, I was in an improv group in North Hollywood at the Wildside Theater. I had improv training, so he chose me to do this scene, and it was really funny. John Candy’s character comes up to me as I’m onstage. He starts talking, and we have this very wacky, really silly conversation while I’m dancing in front of him. All I have on is a G-string and high heels. He’s doing his flustered John Candy thing that he does, and then Steve Martin walks up and I start talking with Steve Martin. When we were done filming the scene, everybody just roared with laughter. John Hughes was laughing so hard, and the whole cast and crew were just busting up. That’s how I got my SAG card. After that, John Candy was kind enough to let me come into his trailer to use the phone, and I had the calendar with me, so I was able to get John Candy AND Steve Martin’s autographs. I have the calendar to this day. It’s very faded now, but I still have the calendar. It was a wonderful experience. John Candy was exactly how he is on film. He was the most gracious, kindhearted, just sweet person, just so loving and so lovable. Steve Martin was gracious as well. It was such a pleasure and honor working with them.
Johnny: I’ve definitely heard good things about John Candy, and I just wish that scene had made it into the movie. I know that John Hughes would film a lot of stuff for his movies, and then he would just end up editing it out. Supposedly, the scenes are still over at Paramount, but I don’t know if they would be in any condition to save, and I think that’s a shame.
Debra: I was invited to a special screening of “Planes, Trains and Automobiles” at the Paramount lot. I went and they were handing out programs, and I still have one as well. They had the list of the cast and crew on there, and my name was on it. I go in to sit down, and the person behind me said, “Hey, I know you. You’re in the film”. He was one of the editors on the film, and he recognized me. He was telling me, “Oh, my God. You were so funny in that scene. That was so hilarious”. I was so excited because I was thinking, “Okay, I didn’t get cut out”. The scene that I’m in is towards the end of the film. I was watching the film, and then the section where I knew my scene should’ve been came and went, and then the film ended. After the film was over, the editor behind me said, “Oh my God. I’m so sorry. I had no idea you got cut out. I thought you were still in it”. He was giving me his condolences, and then once I got out to the parking lot, I just started crying. I was so disappointed. I really thought, “Oh, this is going to be my big break”. It was such a huge disappointment. I have not attempted to contact Paramount or try to find the footage, and you’re right, even if the footage were locked up in a vault somewhere, it could be beyond usability now because film does deteriorate, and that was a long time ago (laughing).
Johnny: Yeah. Going into the 90s, you showed off your fire-play skills in “Point Break”, which featured two of my previous interview subjects, Julie Michaels and Galyn Görg. What are your favorite memories of that movie?
Debra: It’s so funny because on “Point Break”, at the time, I was going through my Madonna phase. Naturally, I have very, very dark brown hair, like almost black. At the time, my hair was dyed very light blonde. I had a lot of people coming up to me, and of course, for anybody who has seen the film, my hair was curled up in little ringlets, and I was wearing a leather outfit with a lot of cleavage. People were coming up to me and giving me quite a few compliments on my look and my vibe. They were telling me that I brought a lot of energy to the set. You can see me fire-spitting as Keanu Reeves and Lori Petty walk into Patrick Swayze’s beach house. As soon as they enter the door, I’m there and I spit fire right in their faces. In between takes, Keanu Reeves and Lori Petty were chatting with me. It was really more Keanu Reeves. He was very sweet. That was very nice just to have a chance to meet Keanu Reeves and Lori Petty, and actually have the chance to chat with them for a few minutes. Once that scene was over, the director, Kathryn Bigelow, wanted me to stick around, so I ended up being there until the wee hours of the morning. She didn’t actually use me again, but I was just hanging out and watching them shoot scenes with Patrick Swayze. That was a really good experience. It was really nice to see how everything worked on a really big-budget film like that.
Johnny: Cool. In 1993, you played Jane in a short film called “Kissing Time”, which is a short that you’re very proud of, as it’s featured on your social media. What made that short stand out to you?
Debra: It was really the story. The story is very esoteric. It has one foot in a sort of reality, (laughing) but it’s not total reality as we normally think of it. The fantasy part of it, his dream, is so esoteric and spiritual. It has a lot of meaning. It’s deep. Frederic Cassidy’s character is conflicted between time and space. When he’s awake, I play Jane. My co-star is his betrothed fiancee in the story. He has this dream where one of us represents time and the other represents space, and he’s conflicted between these two characters. In the end, though, he can’t choose, so he goes with both. I guess the moral of the story is, “You can’t exist only in time or space. It’s a puzzle, and you need all the pieces”. In the story, he embraces time AND space, and they coexist harmoniously. It was very beautifully filmed in classic black-and-white, a homage to the 30s style of film-making. He had a professional organist accompany the film. The organist, whose name escapes me but is most likely listed in the credits, was a professional organist for a Los Angeles theater at the time. They showed black-and-white films, and so the music is very authentic to the time period.
Johnny: Alright. Horror has been a big genre for you in this decade, whether as an actress or working behind the scenes. What’s the appeal of horror to you as opposed to other genres you’ve acted in?
Debra: Well, it’s really funny. It wasn’t something I sought after. I just fell into it. I was working on films in the early 80s, and I fell into working with the famous Fred Olen Ray, who’s done countless films. He’s not only known for horror, he’s done all genres of films. I think he’s best known for his horror and sci-fi films. I was cast in a film starring David Carradine called “Warlords”, where I played a harem girl who ends up getting sold to Sid Haig in the film. From that film, I met Ross Hagen, who was a very good friend of Fred’s. I then worked with Hagen on a film called “B.O.R.N”, which stands for Body Organ Replacement Network. I co-starred in that with PJ Soles and Russ Tamblyn. Hagen wrote, directed, produced and starred in it. Hoke Howell was also in it. I co-starred later with him in a movie called “Evil Spirits” with Karen Black. One thing led to another. I worked with Fred Olen Ray, and then Ross Hagen, and then I worked with one of Fred Olen Ray’s main cinematographers, the late Gary Graver. I knew all these people and they enjoyed working with me, and they put me in their films. Gary Graver worked as a cinematographer on Fred Olen Ray’s films, but then he also directed and produced his own films. Gary Graver’s “Evil Spirits” starred Karen Black, Michael Berryman, Hoke Howell and Martine Beswick, as well as Virginia Mayo. She was a superstar who co-starred in films with big stars like Humphrey Bogart. That’s how that all came about. I worked with one director, and then I would meet with other directors who wanted to work with me. I was fortunate enough to work with all these really great people.
Johnny: Cool. You’re also an accomplished writer. What has writing provided for you that acting hasn’t?
Debra: I’d always loved to write since I was a kid. When I was really young, I wrote songs, I wrote little plays. I wrote children’s plays and stories. I wrote skits and poetry. In high school, my favorite classes were writing classes. Creative writing was my favorite, and art. I drew, and I loved my art classes. I was taking ballet at the time, and I was also taking drama. All those creative outlets go hand-in-hand for me. In 2010, I ended up connecting with Topher Adam, who was the creator and editor of Dark Beauty Magazine. From their second issue, I started writing for them. I had articles and short stories in almost every single issue of Dark Beauty since the second issue, writing for them for 5 years. The last year that I wrote for them was 2015. Every year, I would have a conversation with Topher to figure out what my angle would be for that year. What’s going to be my theme for the year? The last year that I wrote for them, I was writing a story called “The Dark Stranger”. It was basically kind of like a soap opera. Each issue that year, I wrote a new episode for “The Dark Stranger”. It was kind of like a dramatic series. Basically, The Dark Stranger is Satan, who comes to a small Arizona town at the turn of the century. I don’t want to give the story away, but there’s all sorts of characters he interacts with. Things switch, and then it becomes not a story about a Western town at the turn of the century, but a story about something entirely different. He’s in these secret caves with the two main characters of the story, and a lot of fantasy-type things happen. Writing is very important to me as it pertains to all the other creative outlets I do, especially acting. The storytelling that I do directly affects my ability as an actor. When you get a script, you’re only getting part of the story. As an actor, you need to create a whole world for your character. You have to create a full, fleshed-out, three-dimensional life for your character, so my writing goes hand-in-hand with everything else I do. It’s storytelling, and as an actor, you’re a storyteller.
Johnny: Alright. On a different note, you’ve attended quite a few conventions, including Chiller Theatre in Parsippany, NJ, which is the main convention I like to go to. What’s been the most rewarding part of attending conventions?
Debra: Meeting my fans. I went to Chiller back in 1993, and it was such a wonderful experience. They flew me out. They treated me like a queen. Everything was paid for, like my hotel and food. It was such a wonderful experience, and I was there with Debbie Rochon, Monique Gabrielle, Melissa Moore and a lot of the other well-known scream queens of the time. It was during the Halloween season, and it was so much fun meeting the fans. I actually had an entourage. I had people following me, fans who would follow me around and go everywhere with me, wanting to be with me. It was the most special experience. I’ve got to tell you, these people were just so wonderful and loving. I did have the opportunity to go to another Chiller convention. It was a few years back, and I was promoting this anthology film I was in called “Celluloid Bloodbath: More Prevues From Hell”. The director and producer was James Murray. There’s all these trailers in it for horror films, and not just the popular horror films, but horror films I had never heard of, really obscure titles. It was featuring the trailers and clips from these films, and then throughout the movie, they had people that were known in the horror genre, like myself, and some other scream queens. Ginger Lynn, whom I had worked with in “Electric Blue”, was one of the commentators, as well as a lot of other people that fans of horror films would know. We all had different films that we would comment on. One of the films that I was commenting on was “It’s Alive”. I also commented on Willard and a couple of others, including “Let’s Scare Jessica To Death”. I had seen that film way back when. I was at Chiller, and they flew me out to promote that film. That was really fun, and what was more fun than that was that I was able to be reunited with one of my co-stars from a couple of the Fred Olen Ray films, Eddie Deezen. I co-starred with him in “Beverly Hills Vamp” and “Mob Boss”, both directed by Fred Olen Ray. It was really fun catching up with him, and again, all the fans coming up to me. I had so many people come up to me that bought their VHS copies of films I starred in for me to sign. It was so fun.
Johnny: I can imagine. Is there any chance you might make another Chiller appearance, or do you think that’s not in the cards?
Debra: I would love to. Back in the 80s and 90s, I did go to quite a few other conventions. Around 2010, there were a handful of conventions I was a guest at. I haven’t been to any for a few years, but I would love to go back to Chiller. If I have a film that they want to bring me out to promote, and they’re going to have a booth at Chiller, of course I’d love to go. Chiller is awesome.
Johnny: Yeah. I’m headed there this October. It would be great to see you there, but even if you don’t make it, it’s still my favorite in terms of conventions. On a different tack, I just have two more questions to go. First, which five directors would you most like to work with that you haven’t had the chance to yet?
Debra: To answer that as far as directors that you would think I would’ve worked with by now, from the 80s and 90s, there’s a couple of directors that it’s like, “Gee, didn’t I work with you?”, and it turns out I never did. One of them is David DeCoteau, whom I would love to work with. Another director whom I never worked with, that you would think that I would’ve, would be Jim Wynorski. As far as other directors, sci-fi happens to be my favorite genre. I do love horror, but sci-fi is my favorite, so I would love to work with any of the directors making these wonderful sci-fi films.
Johnny: Alright. I now come to my final question. I’ve ended a lot of my interviews with it, and it’s this: If you could go back to your youth with the knowledge that you have now, would you do anything differently?
Debra: Well, I can’t imagine anybody who would say they wouldn’t do anything differently. However, there are a lot of things I would do differently, but everything that’s happened in my life, the good and the bad, or what you would perceive as “This is good and that is not good”, has led me to where I am now. Of course, there’s a million things that I would do differently, but do I have regrets? Yeah, of course I have regrets, but am I sorry for things that have happened that have led me to where I am today? No, I’m not. I’m very happy to be where I am at this point in my life. I’ve learned a lot of extremely valuable lessons. I’ve learned a lot of lessons the hard way, and I’ve had to learn some of these lessons time and again. I think that’s probably true for most people, but I’m happy where I am today. I’m happy with who I am today. Who knows where I would be or what kind of a person I would be if things had been vastly different? There’s a lot of things I would do differently, but I’m happy where I am, so that’s a hard question to answer.
Johnny: I think you answered it well, and that does it for my questions. Again, I thank you for taking the time out of your schedule to speak to me.
Debra: Do you want to know what I’m doing now?
Johnny: Of course.
Debra: Right now, I’m working on my new show called “Cinema Couture”. It’s an interview show. I am the host, and it will probably be premiering in October. It’s through Comcast TV, and it will also be on ROKU and Internet TV. I’ve got many fantastic interviews lined up. I’ve already interviewed David Hauser, author of “Soul Kiss: Tantric Tales Of Mahamudra”, available on Amazon. He’s also a photographer, videographer and documentarian. I’ve also interviewed Erik Olberholtzer, who’s an executive producer on several different projects, one of which is a show about animal conservation. I’ve also interviewed my friend Kenneth J. Hall, who has an effects house called Total Fabrication. Kenneth is also a screenwriter, director and producer. I have vocal artists and famous astrologers and so many fantastic guests that I’ll be interviewing coming up shortly. That’s my big thing right now.
Johnny: Fantastic to hear. I look forward to seeing your show.
Debra: Thank you very much. I just recently returned from London where I shot director Eddie Bammeke’s “There’s No Such Thing As Zombies”.
Debra: It’s a really funny comedy-horror zombie film. I can’t tell you exactly when it’s coming out, but the short film version of it is called “Talk Of The Dead”, which won quite a few accolades and some awards. “There’s No Such Thing As Zombies” is the feature film version of it. My fans will be very happy that I’m still carrying on my scream queen legacy.
Johnny: That’s fantastic to hear. That about does it for me. Thanks for your time. It was great to speak to you, and I hope you have a good afternoon.
Debra: Thank you, Johnny. Thanks for your time. Have a very happy Labor Day.
Johnny: Thank you. Talk to you soon.
Debra: The pleasure was all mine. Thank you.
Johnny: See you later.
Coming soon to the Flashback Interview is an interview with actress, model and make-up artist Nichole McAuley. Stay tuned, and thanks for all your support.