By Yasmina Ketita
Richard and Anastasia Elfman are Hollywood’s avant-garde power couple, delivering no shortage of outré entertainment in their performances and productions – both on stage and on screen. From theatre and film to ballet and burlesque, The Elfmans’ chemistry creates an imaginative formula for unique horror, music, dance and bloody fun! With their new film BLOODY BRIDGET currently making its rounds at film festivals, they never cease to have a slew of projects in the works (and even have time to barbecue). RUE MORGUE had the pleasure of chatting with Richard and Anastasia about their careers, their band, what inspires their art and the deliciously evil recipe for BLOODY BRIDGET.
Richard, you have a versatile career in theatre, such as with The Cockettes in San Francisco and as a member of the musical theatre company, Le Grand Magic Circus, performing in Paris, London and across Europe. I read you were actively involved with sports such as boxing and track in your youth. What caused the switch from competition to performance? Did you always know you belonged on the stage and wanted to be a compose-/artist?
Richard Elfman: I actually never had athletic aspirations; I was basically into books and music as a kid. And then, a bit suddenly in my mid-teens, kind of like the American Werewolf in London, I suddenly grew tall, tough and athletic. As a fish-out-water (often bullied) red-haired Jew, it didn’t hurt. My first year at my mostly African American high school, they pulled me from gym class and threw me on their champion track team. The toughest league in the state by the way – also almost entirely African American. Apparently, I could run fast. Anyway, it certainly improved my high school social life.
My other “skill,” although I’m not a violent person, was I discovered that if I hit a guy on the chin… he’d fall down. I had been mercilessly bullied for much of my youth and confess I delivered a little payback. It wasn’t until ten years later that I became an on-and-off sparring partner in a pro boxing stable. Nose repair jobs and broken hands notwithstanding, it kept me in great shape (I like to eat and drink), and I liked the “life as theatre” aspect, being accepted in this Damon Runyon-esque universe of fighters, colorful old-time managers, gangsters, etc. Ah, life as Theatre – yes!
But my passion as a teen was books, then politics and then theatre, and always music, especially Afro-Latin percussion. I played congas on an album at 19 [and] was camping it up on stage at 20. But with a semi-stiff neck from boxing vertebrae stress fractures, my doctor advised me to stay out of the ring and avoid bar fights. Although I’m tempted by the big $300 prize at the upcoming Senior Division Ultimate Mud Wrestling match coming up. I hear the 80-year-olds are pushovers.
Anastasia, you have a background in classical ballet. I’ve always had an admiration and respect for ballet dancers; Their movements are so beautifully elegant but juxtaposed with much pain and suffering their bodies go through during rigorous training. You currently do dance, burlesque and choreography, but do you still dust off your ballet shoes? Was your training in ballet arduous and did it pay off?
Anastasia Elfman: Yes, I grew up in the theatre doing ballet since I was 3 and had a very vaudeville-esque, performance-based upbringing, with great exposure to silent films, pre-code horror and all the classics. Ballet and dance are so deeply ingrained in my being. I imagine I’ll always incorporate some aspect of it into my art. It also gave me a sense of control over my body and space, which helps with performing, as I’m able to easily translate exact movements, remember fight choreography and able to contort myself in wild positions!
Growing up with severe dyslexia made it difficult to correctly express myself verbally and made me feel like a complete outsider, hence my love of monsters, horror and Lon Chaney, who would mime for his deaf parents. Dance, pantomiming and pulling faces have always been my favorite ways to express myself. Besides growing up in a household of incredibly strict career Marines, I’d have to attribute my strong work ethic to ballet. I’ve had to perform en pointe with broken toes, “smiling” through it. Yes, the show must go on!
I currently create dramatic and horror-centric bloody burlesque pieces that incorporate ballet and are inspired by horror films. I use elements of costume and movements from the films, like my Santa Sangre number, “Holy Blood;” my Suspiria number, “Witch;” and my Residents number, “Pop Goes The Nurse,” all performed en pointe.
BLOODY BRIDGET is an imaginative blend of comedy, horror, burlesque, voodoo, hell and Satan. I tend to go deep into stories when watching a film and feel it reflects marginalized peoples’ struggles for survival in our patriarchal society, with themes of victim blaming, bigotry, and abuse. I really admired that Bridget delivers justice by wreaking bloody vengeance by ripping out hearts. Was this a message you aimed to convey through the story?
RE: Well, the persecuted get some needed assistance in Bloody Bridget – as Bridget is the “Sword of Justice.” It’s always nice to see the oppressors get their comeuppance. Although we’re not overtly political, we do have fun with this. Audiences love to see bad people having their beating hearts eaten.
AE: While Bloody Bridget is a wacky comedy on the surface, she definitely touches important topics that are affecting women and minorities. Richard’s films have always been inclusive way before it was popular – one of the many things I admire about him. He writes interesting, kickass characters for women, which, of course, is very important to me, not only as a performer but also as a mother. As a bossy older sister myself, who also has very strong opinions about right and wrong – like the Bridget character – I found it quite satisfying to inflict justice on evildoers, and I’m glad audiences have embraced her!
You host an underground food and performance salon, The BBQ Bacchanals. What’s your favourite BBQ dish to cook and eat?
RE: Well, I’m what you might describe as a “refined Neanderthal.” I’m a serious cook but only over fire, often directly on the coals or right in the fireplace. I love to do rack of wild boar, cedar board salmon, steak, lamb, and fish. Anna’s a vegetarian [and] loves grilled veggies with baked goat cheese and roasted garlic. We both love that, actually.
AE: Yes! Richard also makes to-die-for burrata salads and pastas! Our dinner parties and events are hot tickets. Richard and I love to host, and one of my passions is supporting and connecting all of my talented friends on our rooftop deck under the iconic Hollywood sign. I also enjoy tossing in a surprise performance. I have a show called Vengeful Ways with my creative partner, Morgan Sorne. It’s a very elaborate, dark experience inspired by Morgan’s incredible music and very different from my usual comedic numbers.
You’re in the band Mambo Diabolico together that will be playing at the premiere of BLOODY BRIDGET in Los Angeles on May 18 at the Lumiere Music Hall, where you’ll showcase your bloody burlesque and rip a beating heart out of someone’s chest. I really appreciated the amount of blood used when you ripped hearts out in BLOODY BRIDGET. What materials did you work with for this effect?
AE: We’ve been on kind of a wild, vaudeville-like tour on the film festival circuit with Bloody Bridget – Canada to Brazil and everywhere in between. Twenty-plus festival wins! I produce all my numbers and love to shock and entertain in kind of a William-Castle-meets-Lon-Chaney kind of way. I do my costuming, choreography and practical effects for live shows and use all kinds of things like stage blood, jerry-rigged duct-taped zip locks, sometimes fabricated pantyhose for intestines and a stunning fake heart. I love practical effects and love being showered in gore! I’ve definitely learned the hard way as to what works and what doesn’t. I’m a running little performing circus monkey – often not getting a rehearsal with my victims and not seeing the venue until show time and just have to trust the process, but I’m a seasoned pro at this point and I love to improvise. I often must create out of restrictions, and I love the challenge. I’m excited to finally bring our show to LA and perform my new Bloody Bridget number to our friends and family that I’ve perfected on tour!
Marcos Mateo Ochoa plays Pepe in BLOODY BRIDGET, and he did a great job with no dialogue. I noticed he also performs with you on stage with Mambo Diabolico and was also in Aliens, Clowns and Geeks. When casting, did you have people in mind for all the characters before shooting?
RE: Well, the script and character Bridget were totally inspired by Anastasia. I love taking elements and nuances of her actual character and expanding that into the bloody, wild killer we have on screen. Don’t worry, she’s kind and nurturing in real life. And yes, many friends and family are in the cast of both films; Tom Ayers, Steve Agee, French Stewart and my son, Bodhi Elfman, of course. And Marcos Mateo Ochoa – wow! He’s a pro dancer and was cast as such in Aliens, Clowns and Geeks, but we ended up giving him two acting roles as well. He’s a total talent – a joy to work with. You’ll be seeing more of him in Bloody Bridget 2 along with the other surviving characters in the film.
AE: I’m very involved with our project and like to include talented friends, so if a role fits, I’ll usually recommend a dependable friend. Richard runs a very high-energy, fun, quick-paced production, so it’s important to protect that workflow.
Marco’s a very talented dancer and actor. His character, Pepe, in the film, is Bridget’s dance partner, best friend and later, also becomes her sidekick and fixer, so Marcos and I worked very closely on set and during rehearsals with our choreographer Lennon Hobson. I’ve enjoyed collaborating with him and he’s my go-to when I need a dance partner. I know I can count on him!
Can you disclose any details about BLOODY BRIDGET 2?
RE: Well, in the “Devil vs. Daniel Dershowitz” finale in BLOODY BRIDGET, Bridget and Pepe agree to a periodic threesome with the handsome voodoo deity Baron Samedi. Meanwhile, the Devil, down below on his throne on his laptop, sees how much hot fun the three are having. He decides to join them in a rather painful foursome … Bridget is upset and calls her lawyers, the father [and] son Dershowitzes, who happen to be little people. Bridget may be the reincarnated Saint Bridget of Ireland, who in turn was the canonized Celtic goddess Brigid. Anyway, the Dershowitzes must cover their yarmulkes with leprechaun hats and infiltrate that other little person group to seek a document. Quite the plot, hey! And lots more music, of course.
AE: I feel like there are no shortages of naughty boys and evil people that Bridget needs to reprimand, plus there are places I’d like to take her both physically and story-wise! I love the character, and I’m thrilled to reprise my role, so everybody better be on best behavior or Bloody Bridget’s going to bust your bloody heart out!
