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Jen Soska Poster

Biography

Jump to: Overview (3)  | Mini Bio (1)  | Trade Mark (2)  | Trivia (6)  | Personal Quotes (25)

Overview (3)

Born in North Vancouver, British Columbia, Canada
Birth NameJennifer Soska
Height 5' 4½" (1.64 m)

Mini Bio (1)

Identical twins, writers, directors, actors even stunt players, the Soska sister's have always loved twisted film. Even at an early age, they devoured Stephen King novels, one after another as fast as they could read - and snuck into the over 18 sections at video stores, to critique the bloody images on the backs VHS horror movies and in gore magazines.

They both entered the film industry, acting and doing background work - and were soon unsatisfied with stereotypical roles that were commonly offered to identical twins. To expand their horizons, they trained in martial arts in hopes to pick-up stunt roles and briefly attended a film school that included an intensive stunt program. For one of the school's final film projects, their prepared short film had it's funding misappropriated and their short was pulled from the program. Undeterred, they decided to go ahead with it anyway, getting a new cast and crew and paying for it out of their own pockets. The title of that project was 'Dead Hooker In A Trunk'.

'Dead Hooker In A Trunk' - their debut film, which the twins wrote, directed, produced, starred in, and preformed the stunts. Using Robert Rodriguez's book, Rebel Without A Crew - a bible for how film-making could be done on a modest budget, armed only with creativity and ambition. Even following the spirit of El Mariachi, the twins' story reached the original El Mariachi, actor Carlos Gallardo - who not only gave the ladies advice, but appeared in the film - as God. The completed film - embraced by horror fans, film festivals, and critics - became an underground sensation, called "a hidden gem in indie film-making" and "a cult classic in the waiting", and won multiple awards: Pollygrind's Favorite Feature, Best Screenplay, City of Death's Best Director Award, and Cinefantasy's Audience Favorite Prize.

In 2008 the twins incorporated, Twisted Twins Productions -- to create their own label for many future projects to come, including their highly anticipated second feature, American Mary, an analogy of their own struggles in the film industry. American Mary has gone on to win numerous praise and awards. The film has gone on to become a cult classic and the various costumes of the lead character Mary Mason a Halloween and horror convention favorite for cos-players.

The Soska Sisters have gone on to be very outspoken about equal rights across the board including but not limited to gender equality and equal rights for the LGBT community. They're actively involved in promoting blood donation and create a new PSA for it every February. And they are only just getting started.

2014 was a big year with the Soska Sisters bringing a new life to See No Evil 2 where they resurrect the WWE Studios franchise with WWE Superstar Glenn "Kane" Jacobs reprising his role as Jacob Goodnight and scream queens Danielle Harris and Katharine Isabelle appear together for the first time. As well, the Twins will be one of the all star director line up for ABCs of Death 2 in a segment that will shock and be destined for cult status. Their segment, T is for Torture Porn, has since been banned in Germany.

In 2015, the twins did a genre jump, teaming again with Lionsgate and WWE Studios, with a action revenge thriller called Vendetta to star, Dean Cain, Paul 'Big Show' Wight, and Michael Eklund. The high action, ultra gory nature of the film proved that the sisters are not one trick ponies as they expand their sensibilities to this Justin Shady written, men's prison revenge flick.

Avid comic book fans, the Soska Sisters have teamed up with Daniel Way (Deadpool, Daken) to create their own very graphic novel entitled Kill-Crazy Nymphos Attack! with artist Rob Dumo & cover artist Dave Johnson which is a pitch black satire on patriarchal society and women's roles within it. The very graphic novel is set with a 2017 release date.

September 16th, 2015, also marks the release of Jen & Sylvia Soska's first collaboration with Marvel comics with their Night Nurse story line 'The Risk of Infection' featured in Secret Wars Journal #5. The Soska twins have been long time fans of Marvel Comics and been quite vocal in their interests to tackle the adaptation of one of their stories for the big screen with them at the helm as directors. In April it was announced that the twins would be teaming with Marvel again, this time writing 'The Ripley' as a Guardians of the Galaxy story featured in Guardians of Infinity #8.

The mediums that the twins take on ever expanding, the Soska Sisters are the hosts of the survival horror game-show called Hellevator that premiered October 21 2015 on GSN. The show is a creation from Blumhouse, GSN, Matador, and Lionsgate. The show just enjoyed it's second season and received even more attention when it was made available on VOD through Netflix and Hulu proving that evil twins continue to have a rich history with elevators and scaring people.

In February 2016, the directing duo of Jen and Sylvia Soska came on board to direct a remake of David Cronenberg's 1977 zombie thriller Rabid. John Vidette's Somerville House Releasing entered into a joint venture with Paul Lalonde and Michael Walker to produce a feature film and original TV series based on the 1977 Canadian horror film.

December 11, 2016 will mark the twins' company, Twisted Twins Productions' 8 year anniversary which will have them with 4 feature films, 2 graphic novels, a series of blood donation PSAs, and a television show. Not too shabby for a pair of twins from Canada who set their sites on shaking up the entertainment industry playing by their own rules and leaving a hefty cinematic body count in their wake.

- IMDb Mini Biography By: twistedtwinsproductions.net

Trade Mark (2)

An Affinity for Suit Dresses, often black
Her upper canines protrude giving her teeth a defined vampiric appearance.

Trivia (6)

Is the identical twin sister of Sylvia Soska. She is nineteen minutes younger than her twin sister.
Blood types is AB positive. Blood donation awareness is very important to the Twisted Twins as they make a PSA to promote donation every February during 'Women In Horror Recognition' Month (starting in 2010).
Is a huge fan of Robert Rodriguez and Carlos Gallardo's 'El Mariachi.' The first hand account of making their no budget feature is what inspired the twins to make their own no budget feature, 'Dead Hooker in a Trunk.'.
Can read braille.
Has a vast collection of weapons that she is trained in. Her personal favorite are sais.
Daughter of Agnes Soska and Marius Soska.

Personal Quotes (25)

No one is going to make it happen for you. I firmly believe you've got to set impossible goals. That way even if you get close, you're doing pretty fucking good.
We simply want to make good films. It shouldn't matter whether we are male or female. A woman's work shouldn't be graded more generously than that of a man.
We began our love of horror reading Stephen King novels at an early age. His style always paired the horrific with humor so I grew up believing that horror benefits from moments of levity. I love to incorporate an unexpected laugh into a horror film. I love that uncomfortable kind of nervous laughter. Like, "Oh, shit. That's terrible. I really shouldn't be laughing.
I love horror movies and I'm more than fine with being dubbed a horror filmmaker for life. Sadly, some people do cast aside horror as a subclass genre and being called a horror filmmaker by some is intended as an insult. I think there are definitely some really shitty horror movies out there, but there are also some great ones. Let's face it, there are some pretty awful dramas out there, too.
Censorship is bullshit. Just because you don't see something doesn't mean it doesn't exist out in the world. After all, art imitates life. Censorship breeds ignorance.
I think the first career path I was dead set on following was super hero.
I can remember Halloween being a big production at our house. We decorated the house in cob webs and with cardboard skeletons. Our yearly costumes were objects of great pride and joy. We never settled for store bought ones. We had to make them from scratch.
Back in highschool, we did a little directing. We loved acting, but had already taken every single other acting class available, aside from their directing and screen writing class. Was it heavy in theory? Nah. We basically got to run an acting class and put on plays as final projects. That was by far our favorite part. I did an adaption of an excerpt from Stephen King's The Green Mile. I started it when Wild Bill gets brought in and I ended it on a low note when Del gets electrocuted with the dry sponge. I was especially proud of our electrocution effects. I had a strobe light, a smoke machine, off stage guttural moans, and electric sound effects. The result? Admittedly, some not so impressed parents. Mine, however, were beaming.
Our mom had (and still has) this huge collection of Stephen King novels. Even then, they were treated very highly and we wanted so badly to read them. We began to read them in elementary school and I still remember sitting there with my dictionary at my side. My mom always encouraged us to read them. She was happy to see us so eager to read above our level. We'd bring the novels into school for "silent reading", but other students began to ask about what we were reading and, naturally, wanted to read them, too. Of course, the school library came up short in terms of King, so kids were going to their parents to score themselves some Stephen and that didn't go over all that well. The principal called our mom in to tell her how "inappropriate" our reading selections were and that other parents are showing concern for us. My mom told them flat out that we were reading at a level far beyond on our years, so why would she ever want to discourage us? We ended up having to read our novels with slip covers, but we still got to read them. It's funny how even way back then, censorship reared its ugly head.
We're very lucky to be able to have Halloween every day, but there is something undeniably special about Halloween. We've almost religiously dressed up every year. It makes me sad to hear "grownups" say that they don't like Halloween and haven't dressed up since they were kids. Where is it written or said that once you reach a certain age you have to stop having fun?
Dick Smith is a god. I love prosthetics and their creators. I'm an '80s brat and I was spoiled on films like Jacob's Ladder and The Thing. The Exorcist scared the shit out of me when I first saw it - being a Roman Catholic that used to altar-serve with an incredible priest who performed exorcisms didn't help with my undeniable curiosity - and it still scares me shitless to this day. I always turn off all the lights and, after the film's done, run to turn them on again [laughs]. I highly recommend it.
Eli is amazing. He's been incredibly supportive and a very good friend to us. We sent our DEAD HOOKER IN A TRUNK trailer around to every director from GRINDHOUSE as they had each inspired us. We couldn't believe that only two days after we messaged him, Eli Roth wrote back to us and asked if he could see the finished film. We spoke back and forth and he gave us some really good advice. And you know what? He still does.
One of the best things anyone can do for an independent filmmaker or artist is telling someone else about them. It's much harder to do when you can't afford a publicist or full page ads in magazines. What we independents have to do is making work worth talking about.
You have to go after what you want in this life. Women have been long encouraged to be actors or singers or models. I want to tell them they can be anything they want. You can be a director, a writer, a producer, the CEO of your own company.
I'm so tired of Spider-Man origin movies. People know how Spider-Man got his powers better than the story of Jesus Christ.
We're one person in two bodies. On set, we are a unified front. We're so in tuned with one another that we can easily divide and conquer. If one of us is called out of a meeting or off set, the other can carry on seamlessly. If we're asked the same question, we will answer the exact same. Often word for word, much to the amusement of our cast and crew.
No one wants to pay us as two individuals although they expect us to each do double the work. (on paying director teams)
You can only oppress a gender for so long. Women have been told 'no, no, no' for so long that they're like, you know what? Fuck you. I'm serious about this, I'm gonna be undeniable. For women to get recognized, we have to set ourselves on fire. There's a lot of women setting themselves on fire and going, no, I'm not gonna take this anymore. A revolution has started.
I don't think anyone should do a remake, or a sequel, unless they have something new to bring to it. Some of the main differences between David and us is first that we're women, and then that we're Catholic. We believe in life after death - David [Cronenberg] does not.
Also, in the first one, maybe because David's a guy, you see it through Hart's point of view. [Hart Read, Frank Moore's character in David Cronenberg's RABID - DG]. The film is almost more about her boyfriend and how he reacts than it is about her [Marilyn Chamber's Rose - DG].
We rose up during the boom of social media when MySpace was the way to connect with your audience. I used to know filmmakers who refused to go on Twitter or Facebook because they wanted their art to speak for itself. But you need to be able to do it all these days, and that includes knowing your audience and connecting with them. Marketing a film online can be more successful than throwing up billboards because it connects to your audience in a more direct and intimate way,
We ended up having to cut a lot from the original script, which was a shame. We just didn't have the support. We had people who were very disrespectful about the body mod community. They kept calling it ugly and we told them we were going to shoot the film so beautifully. To even think that, you're missing the whole point of the film. I don't think they got it until they started to see how the fans reacted. Horror fans always get it.
Painkiller Jane is actually a real heartbreak. Unfortunately I won't ever truly know what happened there, but let's just say we were disappointed with their decision - after very little contact with us - to bring us on for a San Diego Comic Con announcement and then remove us, only to replace us with no one. Plastic we had to leave over creative differences. It became clear that we wanted to make two very different films. When you've spent so much time building up your name and your quality of work, you don't want that name to be associated with something that isn't representative of that.
[on being a genre filmmaker in Canada] Being a horror director is such a dirty term here. I feel I have to educate people when they first meet us that horror films are as diverse a genre as any other, if not more.
[on final cuts] We ultimately reach a happy medium where neither of us [is] truly satisfied

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