In DREAD’s new film, Dorothea, writer-director Chad Ferrin transforms one of true crime’s most unsettling figures, Dorothea Puente, into a haunting study of charm, control, and quiet menace. Puente earned the nickname “The Death House Landlady” after operating a boarding house where she killed several elderly and mentally disabled tenants, continuing to collect their Social Security checks after their deaths.
Bringing Dorothea to life is veteran actress Susan Priver, whose layered, unnervingly calm performance anchors the film’s blend of realism and horror. Known for her long-running collaboration with Ferrin across multiple gritty projects, Priver approaches even the darkest material with emotional honesty, uncovering the humanity that lingers inside the horror. In the interview below, Priver opens up about finding empathy in a monster, balancing subtlety and fear, and why working on Dorothea was as creatively rewarding as it was disturbing.
Dread Central: First, how did you get involved with the film?
Susan Priver: Chad sent me the script after it didn’t quite work out with Sharon Stone. I can only imagine what kind of things she demanded that weren’t in Chad’s budget. I connected with the script immediately. My favorite so far of all of the scripts of Chad’s I’ve had the great opportunity to be a part of.
DC: What kind of research or preparation did you do to capture Dorothea’s demeanor and the quiet menace she carried?
SP: My process in acting is to go deep inside myself to find those subtle similarities that I might have with a character emotionally, and how that kind of person might express themselves with others. I’m not a mimic, so I have to search inside to embody any character.
DC: Horror relies so much on subtlety—expressions, silence, stillness. How did you use those tools to make Dorothea frightening without going over the top?
SP: I never go over the top. I like to keep it real and as truthful as I can, according to the script. The script is like a piece of music that I try to play well. Chad allows me to use my instincts.
DC: Was there a particular moment or scene in the film that really made you feel the weight of Dorothea’s darkness? How did you prepare emotionally for that?
SP: When we shot the scene in the office where I’m trying to get my money back from Lew Temple’s character, he started directing me. It infuriated me, so I was able to use that in the moment and just shot him in the head. I was also nervous about the Spanish I had to speak a moment later, so I was on edge through that whole thing. But I think it’s a great scene and Lew is wonderful in it. Then, relief when I walk out and light the place on fire. It was a bit of an FU to everyone that’s done me wrong…lol.
DC: Director Chad Ferrin has a reputation for gritty, unflinching horror. What was it like collaborating with him to shape Dorothea’s tone and presence?
SP: Chad and I have now worked together on seven films. I’m sure he was skeptical about me on the first, Night Caller and maybe didn’t know if I could go that far on the dark side until I played Ed Kemper’s mother. He didn’t know that part of me. I’m glad he knows it now.
DC: After diving so deep into such a dark psyche, how did you decompress once filming wrapped? Did Dorothea linger with you afterward?
SP: To be honest, I had so much fun playing Dorothea, and every single person on the set, every actor, every crew person, the list goes on, was remarkable to work with and to be with. I personally know how to leave that dark place pretty quickly on set, otherwise I’d burn myself and everyone else out. There is some lingering darkness later on if I have nowhere (a part) to put it.
DC: Why do you think audiences are drawn to true-crime horror stories like Dorothea? What makes this film stand out within that genre?
SP: I think we’re drawn to the psyches of people who are capable of committing heinous crimes. How could anyone be capable of that, is what we’re thinking. True crime gets our minds off of our mistakes and faults. I think Dorothea may stand out because all the elements, especially the script are there. A lot of work and a little magic sometimes, right? And the music by Richard Band, the sound by Matt Olivo and photography by Jeff Billings are pretty damn great. And, it has lots of humor. Always necessary even for a serious piece.
DC: We often see male serial killers in true-crime horror. Playing a female killer brings a different energy. Did you feel that Dorothea’s femininity or societal expectations added layers to the horror?
SP: I think women are taught to please and show a happy face even if everything is falling apart around them. Dorothea was most likely a sociopath, so was charming as they all are. Her early trauma may have influenced her ability in the killing and trying to control everything. Kinda like, winning the game. This dichotomy was so much fun to play.
DC: In your view, what drives Dorothea? Is she motivated by greed, loneliness, or something more twisted — like the thrill of control?
SP: All of it. Again, that early trauma plays such a big part in anyone’s development. We’ve all had it, probably. It’s how we come to terms with it, if we can. Some of us use it in our art. I know Chad does. So do I.
DC: What are you working on next?
SP: We finished Sunset Strip Killers just a month ago. I play another true crime unassuming character. But completely different from Dorothea. Getting ready to do another Harold Pinter play. I’m a stage actress.
Dorothea is available on VOD from DREAD every November 4th
Categorized: Interviews News
