Following its very successful crowdfunding campaign, Amicus Productions was resurrected, with plans to develop a brand-new horror anthology film, the first from Amicus since 1974’s Beyond the Grave. In the tradition of films like Tales From the Crypt and Asylum, In the Grip of Terror has been completed, and having seen it for myself, fans of anthology horror will be very pleased by these new tales of terror. For our latest Q&A, I caught up with Megan Tremethick, who talks about her love of the original Amicus films, In the Grip of Terror‘s on-set experience, and much more:
What was your first exposure to Amicus horror anthology films, and why do you think they’ve remained so popular decades after release?
Megan Tremethick: My first experience with Amicus came when I was quite young. My dad showed me Vault of Horror, and I was immediately drawn in by the stories, particularly Tom Baker’s chilling final segment about an artist who seeks revenge upon his enemies. I remember being completely captivated by the way the story unfolded, with a creeping sense of inevitability that stayed with me long after the credits rolled. That was the beginning of a deep love for anthology horror and Amicus films.
I also adored that many of the main characters in Amicus films were anti-heroes, or even closer to villains, who received a satisfying comeuppance, often with a shocking twist. I think Amicus films have remained so beloved because of their earnest storytelling, the varied atmospheres between segments that keep things engaging, and the gripping, charismatic performances from some of Britain’s most celebrated actors.
Do you have a favorite Amicus film and/or segment?
Megan Tremethick: I have gushed so often about the brilliance of Tom Baker’s segment in Vault of Horror, Drawn and Quartered. Tom Baker, as always, delivers such a powerful and magnetic performance. It is truly inspiring. Every time I rewatch it, I am completely pulled back into the suspense of him securing his sweet revenge on the art dealers and critics who exploited his work for profit, right up to the chilling final twist. Another favourite of mine is This Trick’ll Kill You, also from Vault of Horror. The writing and pacing are absolutely perfect, and I still find the magical rope genuinely unsettling, even all these years later from first seeing it.
Of course, you’ve been close to the entire process of resurrecting Amicus, including the film’s Kickstarter campaign. How excited were you to see all of the support from horror fans around the world?
Megan Tremethick: Honestly, it was incredibly moving to see how much support there still is for Amicus and this classic style of British horror. We always knew there were dedicated fans, but the response to the Kickstarter truly blew us away. It felt like people genuinely wanted to see Amicus return, not as something modernised or reimagined, but as a direct continuation of what made those original films so special. That is exactly what our team hope to deliver. The appetite for atmospheric storytelling is still very much alive. It has been such a privilege to connect with horror fans who share that deep affection for Amicus, and their enthusiasm genuinely fueled us to create something that we hope could stand alongside the originals as a loving tribute to them.
Amicus films have a distinct look and feel that Lawrie Brewster and team were able to really deliver on for In the Grip of Terror. Can you talk about your experience with all of this coming together, from practical set building to location scouting to filming?
Megan Tremethick: The crew (Lawrie, Michael Brewster, Tom Staunton, Calum ‘Caz’ Paul, Neil Cooper and many more!) completely renovated rooms almost from scratch to create the two main hospital sets featured in the film. Tiles were installed, beautiful wood furnishings like the dado rails and skirting boards were added, and everything was repainted to look like an anachronistic institution. The room where the lavish gothic bedroom set was built for Dr. Hawver (played by the talented Nick Ford) in A Diagnosis of Death also doubled as the eerie One-Way Ward.
While all of this was going on, I was busy making the nurses’ uniforms, which I really enjoyed doing. I researched British nurses’ uniforms from the 1960s and 70s, selected a specific design that I thought would suit the film’s look, ran it by Lawrie to make sure he agreed, and then began making them. I heavily modified modern nurses’ dresses to achieve that vintage feel.
Lawrie created a detailed lookbook for the cinematography in collaboration with Michael Brewster, and they worked meticulously on the shot list to ensure every frame felt like it belonged in the golden era of Amicus. All of these visual choices were carefully made to build that classic Amicus atmosphere.
What can you tell readers about your role in the film, playing Nurse Charlotte Gibbon?
Megan Tremethick: Nurse Charlotte Gibbon really fascinated me because she is the kind of character who seems very clear-cut at first: professional, caring, eager to do the right thing. But as the story unfolds, you realise there is a lot more happening beneath the surface. I loved how her journey gradually pulls her away from safety and certainty and into something far more ambiguous and morally grey. Charlotte is quietly driven by her own motivations, and as an actor, I was really drawn to the subtle ways those inner conflicts start to surface. The hospital setting, with all its eerie quiet and strict rules, really amplified her isolation and made her choices feel even more charged. I loved having the chance to explore her vulnerability and growing boldness within such a claustrophobic, mysterious world.
In the story, Charlotte is one of three strangers who arrive at a strange, abandoned hospital with no memory of why they are there. Together, they meet the unsettling Dr Graves, played brilliantly by Laurence R. Harvey, who begins to reveal far more about their situation and themselves than they ever expected. The wraparound structure is such an iconic part of the Amicus tradition, so it was incredibly exciting to step into that framework and help carry the through-line that ties all the stories together.
Charlotte also has her own dedicated segment within the anthology, titled The One-Way Ward, where we get to see her in more depth and explore her personal story in a much more intimate way. That dual role, carrying both the wraparound and a segment, felt like a real privilege as it allowed me to develop her character from multiple angles and give her story real weight within the film.
Do you have a memorable on-set experience you can share with our readers?
Megan Tremethick: When we were filming the segment A Diagnosis of Death, we were shooting a close-up of Lawrie Brewster as Dr. Mayley. We had done the first take and were reviewing it when someone suddenly said, “Wait… zoom in closer…” Michael Brewster, our DOP, zoomed right in and we realised the entire crew was perfectly reflected in Lawrie’s glasses! We had accidentally picked the most reflective glasses in the world for the character. Of course, we re-shot the close-up, but from that moment on, whenever Mayley was on screen, as many crew as possible either had to leave the room or crouch on the floor, just in case!
Can you talk about your creative collaboration with Lawrie Brewster? What makes him the perfect director and creative lead for the return of Amicus?
Megan Tremethick: Working with Lawrie Brewster is easily one of the most rewarding parts of my career so far. He is not only incredibly passionate about classic British horror, but he really understands what made the original Amicus films so special. The heightened performances, the carefully built tension, and the gothic flair are all things he captures beautifully. His attention to detail is extraordinary. Whether it is the set design, the lighting, or the pacing of a scene, everything is considered to honour that vintage style. He really goes above and beyond, and in my opinion, it shows. Both Lawrie Brewster and producer Sarah Daly put a copious amount of love and care into every aspect of all of their films.
Another thing I admire about Lawrie is that he is a truly collaborative director. He makes you feel genuinely invested in each character and each film, and I think it is mostly because it is so evident how passionate he is and how deeply he believes in the work. I think that is a big reason why his films have such heart. His own filmmaking style has always felt naturally aligned with the world of Amicus and Hammer horror. The tone, the pacing, and the visual language already feel like they belong to that tradition. I honestly could not imagine a better director to lead the return of Amicus.
With In the Grip of Terror now complete, what’s next for you? Where can our readers keep up with you on social media?
Megan Tremethick: I’m currently focusing on my directorial feature debut, an ASMR horror film called Spoiling You, which also takes inspiration from J-Horror films. It follows a sinister ASMRtist and her obsessive number one fan (played by Stephen Kerr) who arrives for an in-person ASMR session he will never forget. We have just two more days of filming left to schedule, which should happen in the coming months, and in the meantime I’m assembling a rough cut. It’s turning out to be even more wild and unhinged than I ever expected – so I’m pleased!
You can follow me on Instagram @megantremethick, as that’s where I post most regularly. You can also follow Lawrie Brewster’s work under the name ‘British Horror Studio’. The BHS has Facebook page or join their Patreon community for filmmakers and horror fans alike. It’s free to join!
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