Sophia Segal isn’t just a horror film director- she is an enthusiastic advocate of all things film and art. While she doesn’t plan on painting herself into a corner by focusing solely on horror, it should come as little surprise that her incredible eye for artistic value narrowed in on the horror genre at a young age.
With a deep affinity for the horror classics of yesteryear, Sophia has molded a body of work as a director, writer, cinematographer and designer that rivals the Hollywood big shots. Like all of our other beloved featured artists here with this blog, she just so happens to make magic with much smaller budgets, much less media attention and a much bigger balls.
Now all we have to do is agree on a time and place for our breakfast burrito and Cerveza outing.
Ladies and gentlemen, I present my interview with Sophia Segal.
1. Were you a big fan of the Universal monsters growing up?
Oh, most definitely I was a big fan. My first memories were watching the great universal monster film classics at my elementary school for Halloween. The school would have film marathons in the auditorium and volunteers would pop corn and sell candy and I was all over it. I was entranced and drawn in from the start. I was glued to the screen. I would sit there for hours watching. I didn’t scream or feel scared at all. I felt sorry and sad for the monsters as I knew that it was from tragic circumstances or darker inner places that made them become what they were. I think that is why I had an affinity with these films and the characterizations. The brilliance of it all. I even saw early Hammer Horror Films at school, too.
I just love H.G. Wells “The Invisible Man” and Claude Rains’ interpretation of the character. Nothing like it. The supporting cast in that film is just too damn wonderful. It’s so great to see what kind of movie making magic that was possible back then. It’s become one of my all time favorites. I have so many favorites because all those monsters and dark characters are so well designed and articulated; Bela Lugosi’s work as “Dracula”, Dwight Frye’s interpretation of “Reinfield” is just classic, his maniacal laugh is unforgettable, and Boris Karloff as “The Mummy” and “Frankenstein” and Elsa Lanchester as “Frankenstein’s Bride”, too many great roles. Not to mention Lon Chaney Jr. as the “Wolf Man” and so many others. The German expressionists also helped to open the way for further development in character and set design with Nosferatu and The Cabinet of Dr Caligari.
But the real actor that had a great impact on me emotionally from the silent era was Lon Chaney. His depth of understanding embodiment and transformation with his detailed use of stage make-up to create fully formed monsters and tragic characters in my opinion gave universal pictures the inspiration to further create this genre. I learned to love and respect the creation of really unique character designs. In my Halloween shorts I chose to focus on situations surrounding my updated contemporary version of the German expressionist character design of “Nosferatu” and my version of Universal’s creations of “The Mummy” and “The Invisible Man”.
2. Bypass is garnering a lot of attention, and rightfully so! Congratulations on the official selection seal from Horrible Imaginings Film Festival!
Thank you Justin. I am happy with the feel and look of that video. It seems like that festival was so long ago. Yeah, I wish I could have seen the video on the big screen at Horrible Imaginings Film Festival. I became ill the day before Halloween, so I was wiped out for over a week with a cold and could not make the festival but supported the event as much as I could. I am happy that it was chosen to be featured. Bypass was also chosen for Bornshorts 2011 Film Festival in Bornholm, Demark. It’s a tough festival to be accepted to so I was very thankful it was chosen. That would have been a nice trip to Denmark, but I was there in spirit. I am happy that is has been getting continued screenings all over the world and is being featured on film, music and art blogs and online magazines. It was a pleasure to make. We filmed the whole video in about four nights in Hollywood, CA.
How did you come up with the premise for this project?
I always wanted to do a noir based black and white piece and the storyline came together in my mind very quickly. The track for Bypass has a very unique jazz thread running through the track and I wanted to build on that. The lead actor in this video has a very aging apartment, so it was the perfect environment for the storyline to take place in. I dove into noir-esque character designs, my fascination with ventriloquist dolls, surrealism, the supernatural and out came the story. I have always been inspired by the stylized characters and dramatic story lines from classic black and white surrealist films, and television shows such as Twilight Zone and Peter Gunn, and characters from Dick Tracy cartoons. It just seemed like the right project to bring all those loves together for this musical piece.
3. How did you wrangle up a cast and crew for ‘Bypass’ and your other projects?
The main actor in the video is Andy Flaster. I met Andy when we were both character models for an art class in Pasadena many years ago. We are both SAG actors and we always talked about working together on the right project and this seemed to be the one. Instead of acting together as we both originally hoped to do I ended up directing him instead. Benny Sanches is good friend of mine and musical collaborator. He asked out of the blue one day if I would be interested in filming the debut music video promo for his new music label Electric Meter Room Records for his new CD, “Dare to Think”. I was more than happy to jump on the project. I pitched my idea to him for ‘Bypass’ and he loved it as well as the idea of playing several characters. We both loved the design for my original character “Money Face” a great deal, so I am working on a short film script that has similar inspired character designs, maybe even “Money Face” will be able to make a reappearance as one of the supporting characters.
4. As a director, what makes for a great horror film in your eyes?
A full metamorphosis or cathartic arc of some kind. A sense of unique pacing to help drive the feeling of surprise and suspense, lead in scenes that help build or support the pay off shot or scenes. The unexpected and great cathartic twists are great. There has to be some sense of emotional build, you can’t give things away too easily, it ruins the enjoyment of being lead along with a sense of unease or a sense of inner struggling with the unknown. I want to feel that I am suspended, trapped, confronted or lost in the film along with the main characters while experiencing the unfolding of the story and metamorphoses of the characters. Most horror films today don’t have that kind of psychic power that draws you in deeper. So may times we see the same horror scene set-ups, or cinematography methods used over and over again in teen slasher films, young adult vampire films or overly outrageous graphic B-movie horror films, but I guess they are the dependable tried and true methods that apply to making a particular genre of horror film. I just appreciate contemporary horror films more when directors try to work outside the framework and creatively construct outside of the rudimentary lines. Shit, I still enjoy watching the ‘Thriller’ music video and discussing with peers about Michael Jackson’s visionary understanding of the use of dance and cinematic techniques to articulate a visual terrain and storyline that originated from a song. He was thinking a lot like like Gene Kelly did with filming his musicals. It was stylized and crafted so well. That’s a great homage to the classic horror films and classic film monsters. He got it 100%. It’s too bad no one ever asked him play a role in a horror film he would have been great if directed by the right person.
I went on a tangent, back to your question…three contemporary horror films that come to mind that fully impressed me due to their unique way of visual story telling, pacing, unique surprises and script was Amer, Let The Right One In (original film not remake) and Daybreakers. They did not insult the intelligence of the viewer and both had some surprising scenes, interesting edits, compositions, shot angles, pacing and unexpected moments and wonderful characters that kept me intrigued emotionally and psychologically interested, and on the edge of my seat.
I love the old school style of black and white silent films, monster film classics, surrealist horror films, vintage noir horror, supernatural, metaphysical, psychological or sci-fi horror films from the 50’s – 80’s. Some films that come to mind are Planet of The Vampires, Night of The Living Dead, The Cabinet of Dr Caligari, The Omen, Fire in the Sky, The Exorcist, American Werewolf in London, Suspiria, Rosemary’s Baby, Repulsion, Silent Scream, The Fury, Magic, The Brood, Halloween, Demon Seed, Alien, Trilogy of Terror, Creepshow and more. I was never overly obsessed with the typical teen slasher film or the young adult vampire love story or the overly outrageous graphic B-movie horror films, gratuitous body parts and oozing fluids and such. Yes, I understand some are classic cult films but If I want to see that I will go see a Korean or Japanese thriller or revenge film. The graphic elements are done so well and purposefully, and if I want to see kitsch I’ll re-visit the 50’s & 60’s B-horror films or all my favorite Godzilla films.
5. Having extensive experience in both stage and film, is one easier than the other to ‘control’ as a director?
Well, in theater there is the saying goes, “The show must go on” and that same rule I feel applies to the film making process with keeping on schedule. You have to be prepared to improvise on set not matter what happens. You have to learn to adjust, be flexible and learn what to let go of or run with or edit out due to any kind of troubles or hitches that may arise on set, while on location or in post. Sometimes you can not go back or re-shoot and you have to make the best of the moment and what was filmed for the day, take what was in front of you and try to make it work as well as it can in post. Sometimes your hands are tied and you have to salvage what’s there, but in those moments I have found that there were happy accidents that were captured that actually helped make storytelling in editing process more unique and eventually helped bring it all together in the end. But that is just dealing with spontaneity and moment to moment elements and being prepared for change. You have to be ready for what ever happens throughout he whole process and be open to letting the project breathe, morph and speak to you, so you can hear which path or creative choice to make. You may even end up bitching and squawking about something somewhere along the way but it’s all for the final product and capturing the scene whether it’s live on stage or on film and making it all flow into a rhythmic composition as well as you can. It all depends on how quickly you can think on your feet and trouble shoot and get your work done with efficiency with focused details and creative care. Being present and clear minded is key, especially when serious unforeseen shit goes down.
Whether it is for film or theater the same kind of thought and dedication is going to be needed for development, design, pre-prodcution and technical troubleshooting. Actors have their personal process to be ready for the set or stage whether it is with scheduled rehearsals with the director, fellow actors or personal study alone. I think theater is a great experiential environment to know how all the artistic and technical departments are working in unison to make a show come together. Working in a spacial environment on stage where blocking and choreography is important to the staging of a scene you learn the importance of intimate and non intimate spacial qualities, abstract movement and spacial relationships between people and things that support your choices for visual story telling. I can only be helpful while working on set or location or placing a figure in landscape and within a frame, what you want to tell or not tell. The craft of cinematography and sound design becomes another intricate tool in capturing light, space, environments, movement and compositions to capture the moment. It’s another art form all in itself added to the mix. Did I mention editing, that another whole art from in itself. I have a great deal of respect for technicians and artisans, especially when they are passionate about what they create.
6. As a huge fan of art, who are some of your favorite artists?
Off the top of my head I can think of the following fine artists; Maya Deren, Martha Graham, Otto Dix, Germaine Dulac, Salvador Dali, Jean Deville, Henri de Toulouse-Lautrec, Antonio Gaudi, Ernst Ludwig Kirchner, Basil Gogos, Helmut Newton, but it’s so endless! I am inspired by so much art, whether it’s in the medium of music, film, theater, dance or the movement arts. I am really inspired by the Dadaists, German Expressionists, The Fauves, Spanish Surrealists, Russian avant-garde, French avant-garde, Theater of the Absurd, The Era of New Wave Cinema in Europe, Asia, and the UK, Butoh and Noh theater, Kabuki theater, traditional Korean Pansori singers, 30’s Futurism, 60’s Futurism, The French Impressionists, sci-fi, horror and noir movie poster illustrators, symbolist painters from the 1800’s and Cubism.
I love many artists for many different reasons that it’s hard to name them all. Right now musically I am really rediscovering my Gary Numan cds, re-listening to King Crimson, Adrian Belew and Yoko Ono – Plastic Ono Band. I am getting back to more film soundtracks, more sci-fi, abstract or avant-garde compositions. I love classical chamber music!
7. If you had to pick one horror film to represent why you love the genre, which would it be and why?
I think I have to say Polanski’s Rosemary’s Baby strikes me as a very poignant film and for many reasons. It’s the thought of one being so overly manipulated by ones environment and prayed upon by others solely for the supplication of their own diabolical means, being exposed to gas lighting like abuse and subversive plotting forces around you to the point that you lose connection to your own gut instincts and intuition, and become doubtful of them until they become almost fully extinguished or smothered. That is a very frightening and real concept. Not so much unlike what an innocent child or innocent person would experience today being satanically, sexually, physically or emotionally abused. It’s a deeply frightening terrain, and even scarier is that this concept is an actual real occurrence in our society and is still being practiced today under the guise of hidden cults and cloak of shame and secrecy. It’s the most hidden of all evils. The scary thought is that Sharon Tate was murdered after this film was made. It’s almost like a unconscious premonition from Polanski and dark and foreboding one at that. Who knows what true evil lurks nearby, right? Hell families in parts of the world are selling and killing and physically torturing their own daughters, and kids and people are being trafficked for sex, money and drugs. Horrific shit. That’s why I kind of shake my head at films horror films that try to heard to gross people out when real psychological atrocities are being committed everyday right next door to you. Thats’ where real psychological horror filmmakers like Lynch, Polanski and Kubrick and Van Trier are so great at storytelling because they understand that horror is right under the surface, in play daylight and is stand right next to you even in your own home with a straight face, better yet with a smile. It’s creepy as hell, as true.
The closest thought that comes to mind are the serial killer films. Two classic pathological characters in history that come to mind are “Jack the Ripper” and the mythic “Dr Jeckle and Mr Hyde”, not to mention contemporary predators like W. Gacey and J. Dahmer or The Texas Chainsaw Massacre Story. Truly evil and sick bastards. Unreal that this world with it’s sets of karmic conditions, circumstances and personal experiences are capable of creating these kinds of monsters. Makes Godzilla look like a fun-loving romper room child-like folk hero.
But my point is that there is a disturbing inner feeling that is triggered that prompts you to feel that all is not what it seems, that someone is possibly not who they portray themselves to be, that there are other faces, even multiple faces under the ones that people present to the world that are pathologically deep and by the time you find out you have been directly affected or injured by this kind of dubious nature it’s too late the damage has been done and a mark has been made. You are a casualty or an innocent victim. There is nothing cinematically romantic about that at all, that shit is hair raising. It becomes a fight for survival and some people splinter, fracture, lose their minds or connection to their souls, and for those that come out somewhat intact they still have internalized that kind dark energy and it has to exorcised in order for the body, soul and mind to be healed and reintertated. It’s important subject matter because it really brings to light the dubious and darkly destructive nature that lurks around us everyday in our society and what kind of a soul is capable of enduring and transcending that kind of evil.
8. Who is really pushing the envelope these days, as artists and/or filmmakers?
I think the fashion film industry is bringing something very artistically interesting to the table. It’s opened up a whole new advertising platform for the industry and allowed another form of artistry to breathe within it’s marketing platforms. I love what Nick Knight and Ruth Hogben have created at Showstudio. They have very futuristic and seductive perceptions and do stunning work. I always felt Alexander McQueen was always pushing the envelope of the silhouette and his designs were otherworldly. He had a very piercing vision and his work was reflection of that. He was a free from artist that knew the rules of design, and how to break them to go beyond boundaries and look into other worlds for ideas about form and gesture to heighten pre-existing designs to make them all his own.
Scandinavian filmmakers are calling attention and really opening up the heart of filmmaking again, peeling back the layers to darker poetic and abstract interpretations of life like Russian, Czech and Hungarian and Parisian, even Greek filmmakers do. I think more audiences are really starting to re-discover their artistic sensibilities.There have been more Hollywood remakes of original films by Scandinavian directors, kind of a shame really as they have a very pertinent voice in cinematic history and to quietly throw a blanket over their original contemporary ideas and originality in tone and rhythms only shrouds deeper innate truths, then to remake their idea for another demographic market while another director tries to take credit for an altered version of the film is pretty damn awkward, no matter how great the filmmaker is that does the remake, it will still lose a bit of it’s original authentic translation, unless you really give homage to the unique golden thread that runs through the film and really bring a fresh contemporary look and feel to it. Who the “F” cares about making it your way, if you are gonna do that just make an original film. I have always been attracted to British period dramas growing up and the Brits are still forerunners in dramatic filmmaking and storytelling. there is nothing like a classically trained actor, European or British. Contemporary and vintage spanish surrealist filmmakers are a force as well. I just discovered a female director from Argentina that just blew my mind. Maria Luisa Bemberg (1922-1995) directed I, The Worst of All, one the most gorgeous film I have seen, and an important historical based film for women to see. She was a pioneer feminist, actor, director and screen writer and her work is up there in meditation and thought with the likes of Peter Greenaway, Ken Russell, Sergei M. Eisenstein, Andrey Tarkovsky and Theo Angelopoulos.
It really upsets me when I find out about another important female filmmaker that did not get the kind of further attention she deserved even after she was nominated for an Oscar in 1984 for her film Camila. She was a powerhouse even into her late age. She made I, The Worst of All in 1990 and died in 1995. It was her opus I believe. It’s people like her that open my eyes to what is possible. Off the top of my head I will say the latest contemporary films that really affected me psychologically and knocked my socks off technically and creatively was the Italian horror film Amer and the avant-garde psychological drama Doogtooth.
9. As a fan of the genre, why do you feel women are still viewed, by and large, as ‘inferior’ in the world of horror compared to their male counterparts?
Who said inferior? Where did that statement come from? And what does that term really imply? I don’t think it has anything to do with ‘inferiority’ just internalized fears being overly projected onto others. I think there just isn’t enough professional nurturing, due attention or creative development happening for more women directors out there in the film business. In order for a female to have a voice she has to find her own way in bringing attention to it, that is with or without the help of mentors or a professional network of supporters behind her. Shit, even the Greek mythologies talk about how Cassandra’s gift of vision and powers of seeing where underestimated and undermined. It goes without saying there are more male gate keepers in this industry than females, maybe because there is still a fear that festers and acts as a blinding shroud for women to articulate and demonstrate their own unique psychological powers, heroic mythologies, and more accurate inner and outer archetypes living in a male dominated realm. We have seen enough of the same stereo types. I think the more women believe and wear the archetypes that have been projected onto them instead of embracing and projecting personal inner archetypes then there will always be visual misinterpretations and limited stereotypes of what the manifestation of the feminine psyche is; in behavior, tone and physical form. But it sure is hell of a lot of fun exploiting it right?! We all have to laugh at ourselves too and not take ourselves so seriously, there has to be room for hubris too in all things.
It all comes down to fear and falling pray to out dated stifling patterns that are safe bets and easy payoffs. I think for the women who really focus on a unique marketable vision or niche and have a very clear artistic voice, at some point have to be taken seriously and be given a hand up to the next level of creating. It depends on what kinds of resources or people you have access to or come across on your path that determines how far you will travel in this business. If people believe in you and your approach to your own work, and sense that you are onto something niche oriented and personally unique and have drive, then I believe people are happy to support and offer technical and creative resources openly. You have to find ground level or entry level support. And if you get lucky being in the right place at the right time with a respectable volume of good work to showcase then you might just have an opportunity to break through a door that can lead to further doors opening. At some point there has to be a creative collective of technical and artistic collaborators, helpful professional network of supporters, groups of producers, and a few representatives that respect what you are up to and would like to see you further your work and would love to see what is possible if they give you a chance in connecting you with clients or opportunities that can help expand your repertoire of work.
There are many stories and ideas out there that will never be seen and will never be made because some film companies are too afraid to create departments where they take on more female directors, regardless of their age or ethnicity that function as creators for new film development. Instead the studios will keep rehashing remakes, the same young adult vampire movies, kitsch zombie flicks, teenage slasher films, graphic monster franchises and 3D films that should not be made in 3D at all. In truth people yearn for what they do not have, but don’t know what that is until they see, hear, feel, smell or taste it, and if studios can open up to other stories and take a chance on untapped markets other than the teenager that relies on their parents money for allowance to see a movie, than they just might create a whole new paradigm of creative entertainment, one that has the ability to help transform the industry.
10. Is there a topic or taboo you refuse to touch as a director?
Some things just seem too disturbing to fully articulate on the screen especially when it involves the mistreatment or sexual abuse of children, and what that kind of dark diabolical terrain feels like spiritually, metaphysically and psychically. I feel it could be high time to strike a deeper nerve with people about soul rape, soul loss and dealing with sexual predators, because we still do not treat the realm of sexual abuse in a more direct matter a fact way in society, in the media, within the schools system or the legal system. We could use a few film that disrupts and shakes up some discussions about how this disease and societal epidemic is not being appropriately treated or handled legally. I have two ideas for feature films about this subject I just need to choose which one is the right route to go with. We’ll see what develops down the line.
11. As an alum of BleedFest, how important are events such as BleedFest to spread the word and build a pillar of strength for Women In Horror?
It’s great what the Fies sisters are doing to help support the genre and all the female filmmakers out there gaining a visual voice in the Horror genre. It’s a good model for perhaps more international film festivals to align and support a festival circuit for female filmmakers. Who knows maybe a Horror Film coalition can be created by and for female filmmakers. I am happy that they saw my work and asked me to be a part of two fests. I have noticed that we are all so busy trying to churn out our own work that I hardly ever get a real chance to meet the other filmmakers except when we are brought together for film festival screenings, so in a way we are all kind of doing our own thing out there. We ebb and flow and cross each others paths or stay in contact online, some more than others but we do support what each other is up to and get out to support one another as much as we can.
It would be nice to see more conceptual based film production companies created by a collective of female directors, producers and film reps. It’s an idea, maybe the seed of just mentioning it will bring filmmakers with like minds together to go to the next step. It it wasn’t for Bleedfest I would not have known about some female Horror veteran screenwriters still actively working in the business today and other female filmmakers like myself plugging away.
12. What advice would you offer a young woman interested in joining the horror ranks, as a director/actress/artist/etc?
I am interested in the supernatural, the unknown, the unexplained, the fascinating, the spiritual, the shadowy or darker aspects of the psyche, or sub-currents that afflict humanity which could lean towards psychological thrillers, or supernatural thrillers or metaphysical thrillers, fantasy or sci-fi thrillers, but it seems these kinds of films could live under the umbrella of the Horror genre. Calling myself a Horror filmmaker actually can compartmentalize me and I try to keep true to the storytelling at hand and if it happens to fall under the house of Horror than I guess it will be a descriptive term that will be used to help market a piece of work I do, but I would say don’t over compartmentalize your own work to a specific genre, it could actually hinder you from exploring other avenues of storytelling that may actually lead you to approaching your passion in a far more exploratory way which could possibly lead to a film or project having cross over potential.
I think you have to be true to what kind of story teller you are and want to be and follow through project by project. Allow yourself to make bodies of work, get a theme or a set of experiences out of your system and move on to another terrain of expression and body of work. The Horror genre is wide open for all kind of fantastic story telling, you don’t have to make the overly common slasher, teenage vampire or zombie film to be considered a Horror filmmaker. You need to ask yourself what kind of under currents exist in today’s society you want do you want to uncover, expose or educate about. What stories have been buried, hidden or taboo in cinema and find way to articulate them, or find another way of visually approaching them even if it takes years to develop or manifest. It’s the only way I can think one can be seen as an original voice and thinker. In some way you have to know what your own psychological terrains and personal story lines are and on what levels they manifest and what affects you emotionally and spiritually as an artist. It could be a piece of fine art, a film, a song, a person, a particular place, even a piece of clothing or furniture can inspire a memory or mood, the seed of an idea or a profound thought. You have to follow the deeper muse inside, search your imagination for personal archetypes dig deep for subjects that trigger fascination, or issues that evoke empathy or deeper emotions, shoot even come to terms with events that challenge your own perceptions or those around you. It’s just too easy to keep redoing the same kind of film over and over and not even know we are contributing to that, even contributing to our own story lines as well. You have to really ask yourself if you are going along with a genre herd or are you keeping true to a path to develop a way of storytelling that has deeper personal significance to you. You have to begin somewhere, just jump in and start. You will always be revisiting ideas and thoughts and each time you do they will either take shape or they will fall way, but the ones that seems to keep revisiting you and are calling for your attention for a reason. so just follow it.
Hey sometimes, I tell myself I have not even scratched the surface of what I am capable of and have not had a chance yet to develop all my film ideas that are in my mind and in my personal files. It would be short sighted of myself and others to question whether I can really actualize or manifest my ideas or think that I’m only as good as my last idea or the execution of it. We are all in transition with our work and some actually recognize it and some actually take pride in fully denying it. It’s too cliche to go around with false bravado (man or woman) because you are too afraid to have a fellow friends/artists tell you what you could be more aware of in your work or admit it to yourself. Ownership and accepting some failures or personal lack or oversight is actually helpful in creating a healthy creative ego.That’s why I feel it is best to have a grounded second or third pair of eyes that challenge you to be better and more mindful. Do not surround yourself with just ‘yes men’ or ‘yes women’ and do not pump yourself up so much that you don’t know when to take in constructive creative conversation. But also know when to pat yourself on the back for the good work that you did do and realized. It’s all for the good. When I have down feelings or just feel exhausted and want to throw in the towel I keep hearing the faint and long distance words a good friend wrote to me in an email…”DON’T GIVE UP!” Easier said than done sometimes, right?! (laughs) Hang in there- the answers, ideas and work will come if you stay the course. I may not be a brightest shinning example of success yet, but at least I am humble, grounded and honest about walking the path.
“Now get back to work and don’t bother me, I have my own shit to figure out!” (laughs) On that comedic note, I’ll say, “Thanks for hanging out with me in this Charlie Rose-like interview, it’s been a real pleasure.”
13. What are you currently working on?
Shit, I’m still working on my new classic car replacement, a 1963 Ford Falcon Futura. I told you the saga continues! (laughs) I am editing a new fantasy based music video titled “Stretch” an experimental short and gathering footage from all my videos for a director’s reel. I hope to have everything online by June/July. If you are interested in checking out my films, vocal recordings, art work, photography, character/costume designs feel free to peruse my website.
Here’s the link to my latest music video “Bypass” and upcoming music video “Stretch”
Thank you Justin for asking me to be apart of your blog celebrating female horror filmmakers!
If we ever meet in person I am buying you a big fat breakfast burrito. Carry on with the good work sir!
I sincerely appreciate all of Sophia’s time and enthusiasm!
Check out Sophia’s official website for all things Segal!
Have a listen to Sophia’s vocal demos here: