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How Queen Of The Damned reinvented vampire films for the nu steel technology


One Halloween, Australian director Michael Rymer discovered himself surrounded by 1000’s of vampires. He’d signed on to direct a film primarily based on the second and third books of Annie Rice’s gothic fiction sequence, The Vampire Chronicles, and had travelled to her hometown to fulfill her.

“Warner Bros flew me to New Orleans and put me in a resort, after which Anne despatched an outdated hearse she’d transformed into a transparent glass limo, and took me to the monastery she’d purchased,” he recollects. “It was adorned with rooms of mannequins and dolls. I stayed there, and the following day I used to be picked up and brought to a giant, outdated home within the Backyard District in New Orleans – perhaps three, 4 storeys tall, with an enormous, stuffed wolf trying down. And the limo door opens, and there’s this man with slicked-back hair and a ponytail and a gun holster, and he says, within the thickest Louisiana drawl, ‘Welcome to New Orleans.’”





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