Was that always a deliberate decision between you and Noah to try and keep Jane's killings off-screen, or was that something that came up organically through shooting? I loved that the bloodletting is kept off-screen, except for maybe the punch near the beginning of the film. Hayden got these powers, or abilities, a lot later in life, and Jane is just discovering them as well, so it was actually kind of cool to make that connection. So, it's not like it was something that they were kind of indoctrinated into, or they woke up and were born into, or anything like that. Victoria Moroles: It's different, but also somewhat the same, you know? Hayden discovering that she's a Chimera there were some similarities in Jane figuring out these newfound abilities as a teenager vampire. What is it like going from playing a Chimera and werewolf in Teen Wolf to now playing a half-breed vampire for this film? I love that you did find it on the day, because that fluctuation really plays out well. I think that's what the best plans are, right? It's just being present, and connecting as much as possible. So, it shifts a lot, and I think that was something that we were trying to make a plan out of, and then actually ended up discovering a lot of stuff on the day. Initially, you come in and Jane has her walls down, she's vulnerable, and Francis put his up, he says, "No, I don't want anything to do with this." Then, she is forced to go back home, puts her walls up, and leaves, and then he has to go on his own journey. I actually think something we discovered was we tried to make a plan out of it, but also what we discovered while we were shooting was it was really fun to see when Jane takes the power back and when Francis takes the power back. Victoria Moroles: In the beginning of the film, you find Francis and Jane both super isolated and they both have their own walls up.
Since you mention coming up with a plan, what would you say was one of the biggest goals that you and Noah set for yourselves and these characters coming into the film? Since you've been really interested in this father-child kind of storytelling, what was it like developing that rapport with Noah both prior to filming, and throughout the shoot? That's always great to hear that, opens it up to a more fun experience for you. But no, it was pretty easy, honestly, it flowed out really nicely. So situational comedies, like one of my favorite things, so I think trying to bring some of that in was a little bit of a challenge, just because we're in a genre where we're asking a lot of people to be laughing at something you don't normally laugh at. A lot of the situations that Francis and Jane get themselves into are very comical, in kind of a vampires-trying-to-be-practical way. Victoria Moroles: It was really right there, and I think a lot of it was circumstantial. Did you find it difficult to try and find that right balance, or did you find that it was all right there in the script? Also, I have done a lot of horror, but I'm a newbie to the horror-comedy genre, so trying to have that comedic layer on top of this world was really interesting and fun.ĭid you find that to also be a challenge coming into it? Because you've also done comedies, like with Plan B, which was also phenomenal. I loved those movies growing up, so I was excited to try something different. Victoria Moroles: I definitely thought it was a different twist on the father-daughter, parent-child relationship which, for some reason, I've always wanted to do. But what about Noah's material really sparked your interest to want to be a part of it?
You are no stranger to this genre nor to playing a monster, so to speak, after Teen Wolf.
Screen Rant: Blood Relatives is such a great film, it's funny, it's sweet, and it blends the horror in very nicely.
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