Horror and Fango contributor Debbie Rochon spills her guts about notable past features. And to see Debbie in one of her latest films, check out SLIME CITY MASSACRE, which recently debuted on DVD.

Here's Debbie's list of 10 of her movie titles, spanning her career, along with her reactions and memories:

LADIES AND GENTLEMEN, THE FABULOUS STAINS (1981): “I saw all these sides to all these characters. I was there while [co-star] Laura Dern was desperately trying to get away from her parents, at like 14. She wanted independence. She became emancipated from her parents so she could do the movie, because they didn’t want her there alone. It was this really life-changing experience for most of the people involved. 

ABDUCTED II: THE REUNION (1994): “I played a complete victim, and it was really hard for me to do that. I think because of who I am—what I developed from, always living in crisis—is why I’m drawn to playing stronger characters. Having more of a villainous, evil side is an outlet. It’s not just more fun and interesting on a superficial level, but I can also create and be all these characters…all the scum that I had to deal with at that age. I can be them; I’ve seen that. I’ve seen the underbelly of humanity; it sounds dramatic, I know, but it’s really true.”

TERROR FIRMER (1999): “Out of all the stuff I’ve done with Troma, that is by far my favorite; it cracks me up! I was lucky enough to come up with my own lines, like when we’re in the car; I made that all up. I thought it was frickin’ hilarious, but a lot of people were offended. In full disclosure, I love TERROR FIRMER through and through, but the first time I saw it was at Cannes—big screen, standing room only—and I was mortified at the bathroom scene. It looked like porn! I was like, ‘Nooooo, I didn’t allow myself to do that, did I?’ But looking back at it, the nudity, to me, was worth it. The second love scene I have in there, I’m sitting on Toxie’s lap and screaming rape. That to me is not even like doing nudity because it’s pure comedy, more surrealistic. But the bathroom scene, for a few seconds there, was like watching an X-rated movie.”

SANDY HOOK LINGERIE PARTY MASSACRE (2000): “A ton o’ fun! Shot off-season in Sandy Hook. The girls were great. The movie makes absolutely no sense, and that’s why I enjoy it. The biggest thing I like about the movie is just to have that title in my credits.”

HEAD CHEERLEADER, DEAD CHEERLEADER (2000): “A very quick shoot for me. Basically, I’m the coach—I play Coach Riley. It’s one of those things, like celebrity cameos, where they’re always on the phone. So I’m always on the phone, and the girls are getting ready to do this big cheerleading thing, but they’re all dying. This is awesome: As the coach, my only concern is that they be careful out there and not lose the Nike deal. Then I get out of the hot tub, and I have a bathing suit on, and I get one of my breasts lopped off and I die. So that was original; that was fun.”

ANAL PAPRIKA 3: MÉNAGE-A-DEATH (2001): “It’s so funny, because the director, Chris Seaver, does a lot of comedies. I did MULVA 2: KILL TEEN APE! with him, which was a direct homage to the KILL BILL movies. I’ve done a ton of movies with him, including FILTHY McNASTY, SCROTAL VENGEANCE… In ANAL PAPRKIA, all I really did was appear at the end of the movie dressed very ’80s—he’s obsessed with that decade—and said, ‘Why can’t you be more like John Stamos?’; I’m fixated on John Stamos, and I have a big poster of him. That’s really my only part in that particular movie. I’ve done much bigger roles for Chris, but he’ll also have me do these ridiculous cameos. It’s so awesome, because the mainstream media, when they write stuff about me, go to [these titles]…it’s like the only thing they see. If they want to put me down, then it’s ‘This, coming from a woman who did SCROTAL VENGEANCE.’ So I love these movies for that, because I know what they’re really like; that’s the joke.”

WITCHOUSE 3: DEMON FIRE (2001): “I thought this had sparks of great stuff. They were headed up by a really great director [J.R. Bookwalter]. They were trying to be original, and they had that goodheartedness.”

PLAY-MATE OF THE APES (2002): “Awesome! I got to be an ape! I was in an ape suit, and the mask came from Universal. It took hours and hours to apply the prosthetic. I went to the Central Park Zoo to study the monkeys, and it was like Method acting. Since I was an ape, I didn’t do any T&A. But I made a point to learn the dance that Davy Jones of the Monkees used to do. So for those who would get it, I’m doing the Davy Jones sway.”

NOWHERE MAN (2005, pictured on homepage): “I loved that movie, and the director [Tim McCann]. It was challenging material for me. I long to work with people who can bring something out of me. Like in one scene, I would have played it like a tough bitch, like, ‘I’m gonna f**kin’ come after you.’ I would have done it 100 percent different than the way he had me play it. He said, ‘No, you want to stay with him even though he’s treating you this badly.’ That’s where the conflict comes in. He forced me against my own instincts. Whether people love the movie or hate the movie, it was an amazing stretch—an amazing experience for me because of that. I didn’t make it all up and make all the decisions myself. Once you get the trust in the director, you can completely let go. You know they’re gonna say, ‘No, too much’ or ‘Not enough.’ He’s a tough director. He was awesome, but if something was bad, he’d say, ‘Guys, now do it with some acting.’ He’d say, ‘That really sucked; let’s try it again like this.’ He wasn’t mean about it; it was very factual. He challenges you. You’re like, ‘I’m an actor; I can do this.’ The art of all this is missing in a lot of the super-mega-low-budget stuff, and that is sad.”

RAPTURIOUS (2007): “I loved this experience, but not even for me, for Robert Oppel—the joy of saying that I was in it with him. I am not egocentric; I’m a total team player. I love him so much in that movie; I’m proud to have been in it with him.”

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