Long interview from 2021 with lots of detailed answers:
My contributions were Deacon Frost’s angle as a modern “Gucci Insurrectionist” — from that flowed the rave music, the underground clubs, the entourage, the belligerence, the antiauthoritarianism, the casual fascism. I was interested in the club world at the time and saw it as a thrilling-but-cruel place full of judgment, superficiality and threat, all of which were expressed most clearly in the blood club sequenceI also added the political conflict between the vampires — the original script had Frost’s motivation as solely power for power’s sake which didn’t seem very real to me — in England, where I grew up, classism was and is still a thing, people judge other classes harshly or with envy — one’s class in life is often assigned by the accident of birth and no amount of success can “take Essex out of the Essex Girl”
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Wesley added all the martial arts — that was totally his thing and frankly, I lucked the hell out! — he had a stellar fight crew and my taste for hanging back and letting things happen (as opposed to undisciplined shakycam) perfectly suited the fights. Wesley also created the character with little input from me.
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I did try to get the whole prophecy thing removed. It seemed too woo-woo and occult to me and I would have preferred that the “Blood God’’ was some kind of technological Cronenbergesque transformation of Frost into a “Master Vampire” whatever that means